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Practical Records is a small cassette label that proposes an alternative means of distributing music through events, recordings, and text.
I pick up a musical instrument and produce a sequence of tones. These tones enchant my surroundings and me as I produce them. At some point I grow tired, the tones cease, and the enchantment passes. My favorite quotation about this phenomenon can be heard on the Radio Hilversum recording of Eric Dolphy's last concert, which took place in 1964... Dolphy said: "When you hear music, after it's over, it's gone in the air; you can never recapture it again." What I produced has vanished without a trace; it created no value—nor, however, did it depend on a providential nature and the miracles of the land of milk and honey. It was me.

— Diedrich Diedrichsen

Grand Lady Dance House
Dance Music

So the tea devotee is one who finds his interest in spheres that are apart from the ordinary spheres of life and remote from the dust of this world. There is a certain oddness about him as well as his Tea-house.

For many Westerners a house is a thing, an object, or as the Bauhaus theorists defined it, a "machine for living." But to the Japanese it is a context— or rather a shifting set of smaller contexts within a larger one.

The floor platform, raised about eighteen inches above the ground on piers, is covered with straw tatami mats approximately three feet by six feet in size, roughly the area occupied by a reclining human body. The tatami mat is the basic building module; a room or entire house is measured by the number of mats it contains. The mats are straw in a soft textured beige, quiet to walk on, pleasant to touch and to sit upon, removable for cleaning.

It’s daytime, the light is dim, because the low, overhanging parts of the roof only let a few sun rays in. Everything is a sober color, including what everyone is wearing. Every thing is old and faded, because to buy new things is impolite, except for our shorts and the dress, which are both new and clean. Everything is clean. There is no dirt, even in the corners. This house is only a short term shelter for our bodies. Our bodies are like flimsy shacks made with grass in the woods.

15 minutes, cassette
$8—Order Now
Brian Getnick & The Memories Band
The Memories Themselves

The memories themselves was an exploration of the body as a theater: a frame for seeing identity as the accumulation of collaborative actions.

The memories themselves began in 2012 as a multimedia performance project in collaboration with musicians Claire Cronin, Corey Fogel, and Ezra Buchla, and performance artists Bryatt Bryant and Nathan Bockelman. Each of us occupied a different limb or item of clothing belonging to a sculpture I made of a giant body. We began the performance scattered across the floor of the various spaces we used as our stage (bars, classrooms, galleries, theaters) Our movements were at first subtle, just pulses and restless quavering. Gradually we would begin to create a song, some of us beating out the rhythm with the giant hands, Claire would carry the melody and at one point Ezra pulls his viola out of the boot. The song signaled a change in movement, each of us rolling, writhing and squirming our way into a cluster, eventually putting the body parts together to form a giant person. When we finished singing, we disassembled, parading off the stage or returning to a fragmented state. The song lyrics are grounded in specific places in LA (the aqueduct, highways, deserts, suburban homes, strip malls and a forest). In 2014 I recorded these songs at Mark Wheaton's Studio and from 2015-2106, I worked with photographer Jeremy Oversier, and performers Emily Lucid and Andrew Diego to make a video for what became 6 songs, drawing out images and narratives from the song lyrics.

While working on the costumes and sculptures for Memories I re-watched John Carpenter's 1982 horror movie The Thing. I see this monster as a living archive: embodied memories of other things it has encountered throughout its travels. Any of these memories can be recalled to assume defensive postures when there is danger but at great cost to the integrity of its body. In other words, the Thing refuses the position of wholeness, refuses to be described. It can only be known by what it does and how it reacts. When frightened it shatters itself, each part running in its own direction.

While I don't exactly admire this creature I see it as a model for an anarchic body seeking freedom at all costs. In the face of its tentacled and shark toothed revolts, the notion of memory as a single skin, a layer that covers and contains, is weakened.

Memories are bullied by fiercely living things and I feel a certain empathy with this creature that refuses to be covered by language.

The missing and the dead are no longer capable of this type of anarchy. No matter what the ghouls, zombies and other monsters are doing in the movies the dead are actually weak. How else could we, through the act of describing someone, bury their once surprising body in the earth? Memory, in this sense, takes on a nearly fascistic quality: ordering the body and all it barely contains into an obituary. This diminished paragraph become like a smaller, solid and more easily managed surrogate body.

— Brian Getnick

30 minutes, cassette
$8—Order Now
Tracy Jeanne Rosenthal & Brandon Drew Holmes
Art Isn't Fair/Grandma's Boy

Tracy Jeanne Rosenthal is over being an art critic but will probably still do it for the money and vague institutional recognition. Brandon Drew Holmes is the son of Mia Vaughn and Baskerville Holmes.

30 minutes, cassette
Sold Out
Julius Smack
Tomb Songs

This tomb is littered with junk, broken vases, old technology and shredded paper. This album sings the sound of a cluttered hallway. This album stands in long lines at the club. What does the statue on that hill see 100 years from now? These are the world's tomb songs sung by Julius Smack.

30 minutes, cassette
$10—Order Now
Your Motion Says: An Arthur Russell Tribute

Your Motion Says: an Arthur Russell Tribute was a 3-day music and dance festival in Los Angeles celebrating Russell's 56th birthday. It was performed at Human Resources and Pehrspace. Featuring covers of Arthur Russell's music by Michael Vidal & Douglas James Sweeney, Mo Dotti, Julius Smack & Pauline Lay, and Gee Weaver.

30 minutes, cassette
Sold Out
Wizard Apprentice
Keep It In, Keep It Out

Keep It In, Keep It Out is a documentation of emotional states and psychedelic/sensory experiences from 2013. I hope it resonates with the listener.
— Wizard Apprentice

30 minutes, cassette
$10—Order Now
Julius Smack

Hollywood and the surrounding area have numerous sites that are believed to be inhabited by the spirits of deceased celebrities. For example, the ghost of actress Peg Entwistle, who committed suicide by jumping off the Hollywood Sign in the Hollywood Hills, has reportedly been seen near the sign. Some apparitions have been reported as being sighted at more than one location in the area.

30 minutes, cassette
Sold Out

OLINGLINGO is a ceremony that invokes our ancestral memories from past and future, earth and outer-space. In a total submergence of song, movement, video and language, the OLINGLINGOANS move ecstatically through prismatic portals, conjuring ancestoric magic to heal and give thanks. In an embodied collective reminiscence, we remember we are all baby ancients ruled by ancient love. This is our decolonizing spaceship. We are all spaceships. We are all OLINGLINGO.

30 minutes, cassette
$8—Order Now

© Practical Records 2016