For nearly two decades, Rasputina has been rocking out with some of the most unlikely instruments (cellos and the occasional banjo or harpsichord) and in some of the most fanciful and restrictive attire (tightly laced corsets and hoopskirts). They have paved the way for experimental cellists to break away from the traditional classical strictures and move toward a much wider audience. Melora Creager, the mastermind and directress behind the formerly ladies-only Traveling Cello Society, has long held a passion for Victoriana and is an avid huntress through the more peculiar annals of history.

Her wonderful lyrics are often about marvelously obscure subjects such as Snail-Fever, meltable aliens, and the egg-races performed by Easter Islanders. Rasputina’s seventh full-length album, Sister Kinderhook, is stuffed with melancholy gems about the perils of ocean-faring and little girls raised in birdcages. The tone and sound of the record harkens back to early days of Thanks for the Ether, the band’s first groundbreaking album. I had the opportunity to catch up with Melora and company over migas and coffee in Austin. Rasputina’s traveling retinue included not only some delightful new band members (Daniel DeJesus and Melissa Bell), as well as Dawn Miceli, whose documentary about touring with the band, called “Under the Corset” came out this summer. The star of the show, however, was no doubt Melora’s adorable new baby, Ivy – who appears to be a human incarnation of a Kewpie doll. Doll artist and photographer Christy Kane made some lovely portraits of mother and daughter, which we are very pleased to include with this interview.

CH: Over the past 18 years, Rasputina has evolved musically, but has also remained totally true to a beautifully anachronistic aesthetic, and to an experimental sound that has engendered a very devoted fan-base. As directress and songwriter, you never seem to waver from what inspires you. Has it been a battle to lead such an uncompromisingly iconoclastic band through the wilds of an industry which is so increasingly concerned with accessibility?
MC: I’ve always had faith – that to be true to my ideas & taste would help me win in the end. Even if it’s a victory in honor only. But win & victory are battle terms, it’s true. A band is like sports. I’ve been at this so long, that I’ve seen many trends come and go. Sometimes Rasputina is lumped in with them, but these trends always pass away. I keep faith that my best efforts are beyond fashion. Rasputina started on a major label, has grown steadily smaller, and has gotten more and more fun as it shrinks. I was raised in the industry to try to make hits, to try to get on the radio. It took a few years to get that out of the back of my mind. Maybe 5 years ago, I started to be free of it. It’s funny though, because think of all the weird songs I’ve made- you’d never know I was attempting hits!

CH: Much of Rasputina’s inspiration appears to come from the hardworking and meticulous ladies of yore, who stitched and slaved away to create lasting things of beauty. You make and design the majority of your album covers and merchandise by hand, including the embroidery on the cover for your newest album, Sister Kinderhook. With the collapse of the traditional music industry as we know it, have you noticed more musicians getting motivated to be more DIY with their careers? What are your thoughts on the craft renaissance and the renewed appreciation for fancy handwork?
MC: With other musicians I talk to, of different levels of success, I don’t hear about labels anymore. Do they exist beyond Beyoncé? I really stay out of the whole music industry. I make my things as hand-made as possible. I use a cd manufacturer that’s here in my little town. I was looking through the craft magazine section at a book-store, and was shocked at how much material there was and how common advanced techniques are. That is a great thing that lots of people want to spend their time that way. I have heard that young people shun Facebook and prefer quilting & etc. Good.

First Encounter

A young girl in a scarlet hoodied romper stares gravely up into the heavily furred, ferociously fanged face of a black wolf.  A lesser creature might be shamed by the child’s frank gaze – her features set earnestly, courageously, eyes alight with curiosity, and perhaps, even compassion.

Is the wolf to be deterred by this sweet faced thing, obviously unafraid?  Will it stray from it’s monstrously predictable fairytale course?  No, it is not. Will not.  Cannot — after all, that is what it wolves do, isn’t it?

And before you can blink it has swallowed the girl whole.

But, wait…

Tonight, I can’t stop thinking about one of the more influential, yet relatively obscure artists at work during the post-Happenings decade. Ana Mendieta:

From Ana Mendieta’s “Body Tracks” series, 1970s.

It’s all too easy to scoff at raw, bloody, chthonic feminist performance art these days. Hell, it’s all too easy to scoff at just about anything that whiffs of pussy power. After all, this is 2010! No need for histrionics, right? We’ve been liberated, reborn. We’re fierce and comfortable, right? We’ve seen it all a hundred times before… rrrriiiiiight?

Then again, what Alice Miller said about scorn holds a lot of sway: “Contempt is the weapon of the weak and a defense against one’s own despised and unwanted feelings.” In light of that assessment, whether one chooses to roll their eyes or not, Mendieta’s (earth-)body of work, and the circumstances under which she died, resonate as much right now as they did in the 1970s and early 80s. (Although, come to think of it, there were plenty of eye-rollers then, too.)

In any case, on the 15th anniversary of her mysterious death, I’m lighting candles for Ana Mendieta and wondering what comes next.

Holy balls, kids. HOLY. BALLS.

These are stills from a clip of one seriously wackypants “Japanese punk rock Exorcist homage” called (appropriately enough) The Exorsister. It comes to us courtesy of the ever-terrifying and wondrous Weird Shit Magnet that is Dogmeat, who says “I’m laughing, because this is one clip where even I ask myself ‘Where do you get these?’ Stick around for the octopus attack… as if you would turn this off!”

Definitely not safe for work. Click the collection of stills above… IF YOUR DARE.

Behold. Fodder from the most über Tumblr you’ll see all day:

Via Heather Thompson. HAIL.

Tracy Widdess is currently accepting custom orders for her sublime horror and sci-fi inspired knitwear, but queue up quick! Undoubtedly, she’s about to be inundated with weirdos clients.

More images after the jump.

Last week, the Coilhouse crew and extended family – Courtney, Mer, Mildred, Stephanie Inagaki and Andy Ristaino – got together with Zo on the roof of the Standard Hotel in LA after Mer and Zo had joined forces to prepare a particularly juicy Coilhouse blog feature that will be revealed at a later date. I couldn’t be there, but the picture from that night filled me with joy. Next month it’ll be three years since we all started working together, and to me, the photo speaks volumes regarding how much we’ve grown together, and all the changes we’ve been through. This is especially true in Zo’s case. An epic wedding, a house move, and a full transition into a freelance career – that’s a lot for anyone to handle, but our co-editor makes it look effortless. So in lieu of being able to wish her a happy birthday in person, I present Zo with the cake above (with a little bit of help from R. Stevens). You are a vital, talented, creative force of nature, and the world is more strangely beautiful with you in it. We luff yoooooo!

Cuddle puddle: Courtney, Zo, Mer and original fourth co-editor Mildred Von.

Via Dusty, natch.

We gotta get this biddie, the feisty abuela from that “Will You Go To Prom With Me” video, those fire-building headbangers and DOOMCOCK to form a metal band. How brutal would that be? 8-Bit Slayer can open for them in this backyard. Refreshments provided by the Black Oven.

UP FOR AUCTION. COMPLETE SET OF COILHOUSE MAGAZINE ISSUES 01-05.

We know there’s a lot of demand for all of the out-of-print issues of Coilhouse Magazine. Unfortunately, there’s just no way we can financially swing reprinting 01-04 at this point in time. We are looking into revamping past issues for various e-reader formats –which, obviously, we know isn’t quite the same– but it’s something. If anybody would like to give us some constructive feedback regarding that idea or other viable alternatives to make our previous editions available, please give ’em here in comments.

Meanwhile, some of you may be interested to know that I’ve just put a full run of Coilhouse Magazine 01-05  up for auction on Ebay –donated from my own limited personal stash– to help out a cherished friend with mounting medical bills. Her name’s Whitney Moses; I met her several years ago via our mutual chum Amanda Palmer. Over the years, Whittles’ given me tons of links to cool/kooky/brilliant stuff that often becomes instant Coilhouse blog fodder. She’s a healer, a mover, a shaker and a peach. I love her very much.

Two months back, a freak trampoline accident left Whit’s knee in shreds. She’s had to have a fuckton of intensive, expensive surgery. And, wouldn’t ya know, right now she’s without insurance, despite working long hours at a local hospital, and making the bulk of her bread as a licensed massage therapist. ARGH. Sarah Dopp (who you may remember me gushing about), and who had this to say about our dear Whitney, explains why our community is working overtime on her behalf:

It’s true she’s probably facing $30,000 in medical bills and 6 months worth of lost wages, but there are also hundreds (maybe thousands) of people who are committed to helping her out.  The crowds are already organizing a central calendar to plan visits, transportation, and meals for her, and schemes for several fundraisers are already in the works.

She doesn’t have that kind of safety net because she’s a nice person. She has that safety net because she has spent her entire life listening to and supporting the people around her, pursuing her dreams as honestly as possible, and including as many people as she can in them.

Photo by Tanya Anguita

So please check out my Coilhouse auction listing. Bid knowing that all proceeds will go toward helping a truly exemplary and luminous young woman to get back on her feet, literally and financially. Also! Be apprised that there are two big fund raising parties for Whitney happening in Oakland– one tomorrow night (July 29th) and another on September 12th.  The organizers understand that lots of Whitney’s supporters are out of town, or otherwise can’t make it to either show, so they’ve put together an e-raffle as well. Prizes include signed books and collectibles from Neil Gaiman, handmade hair flowers, one-of-a-kind paintings, matted limited edition photographs, unique jewelry and accessories, and much more. Purchase e-raffle tickets here via GiveForward for $5 each. The winners will be selected tomorrow in a separate drawing, and prizes mailed out.

Best of luck to Whittles, best of luck to all who bid on the auction, and thanks as always for reading.

HAPPY MERDAY! Your co-editors wish you blankets of autumn leaves, wreaths of kitten-bound turtles, a harem of lamé-wearing Italian 80s TV pop stars, a barrel of the finest mocha with a side of bum-biscuits, dusted with poop jokes and polished with mermaid tears, delivered by a stampede of naked hobbits on WETA legs. Every day, we marvel at your ability to juggle music recording, editorship, cross-hemisphere time travel, and simply being there for your friends in times of need. You leave a path of growing dendrites wherever you go, inspiring all who surround you to do their best. Like watching a magician who outdoes herself with each new act, we shiver with ANTICI… (master-master-master)… PATION of The Parlour Trick album that you’re probably working on as we type these words, and everything else that you’ll accomplish in the year to come.

Birthday card by Paul Komoda, who’s pig-sitting Mer’s beloved Ingmar Superstar while she’s in New Zealand.

The music video for “Le Petit Train” by ’80s duo Les Rita Mitsouko was an elaborate production filmed in Bombay. Dancing her way through the infectiously upbeat tune, sari-clad frontwoman Catherine Ringer asks, “Petit train où t’en vas-tu? Train de la mort, mais que fais tu?” The lyrics speak of serpentine trains passing through the countryside, carrying children and grandparents “to the flames through the fields.” As the song reaches its climax, Ringer – whose father was an artist and a concentration camp survivor – trades the fixed smile of her Bollywood dance routine for close-ups that reveal tears flowing down her face while she continues to sing. Ringer’s background in avant-garde theater can be glimpsed in many of Les Rita Mitsouko’s music videos, which appear after the jump.

Les Rita Mitsouko was formed in the early 80s by Ringer and guitarist Fred Chichin in France. Early in their career, Ringer and Chichin had the fortune of working with two great producers: their eponymous first record was produced by Conny Plank, famous for his work with Kraftwerk, Neu and other various bands associated with krautrock. Their second album was Tony Visconti’s top pop project after David Bowie. A year later, the duo was featured in Jean-Luc Godard’s film Keep Your Right Up.

Many band biographies omit the fact that prior to her musical career, Catherine Ringer was an underage porn actress. If you Google this fact, you will find some shiiiit (literally) that’s highly NSFW. I bring this up because I find it empowering that Ringer went on to become one of France’s biggest pop stars (though they were arguably more popular elsewhere in Europe). Had they been an American act, would Les Rita Mitsouko have reached the same level of success? I think back to the heartbreaking interview that Marilyn Chambers gave a few years before she died, recounting with sadness a life of failed attempts to break into “straight” film, and have my doubts.