Faster Than Sound: Nine Records That Inspired Austin Author Fernando A. Flores’ Valleyesque: From Pauline Oliveros to Big Boys, the Sounds Behind the Collection of Surreal Stories Rooted in South Texas – Music

Photo by John Anderson

Austin author’s epigraph Fernando A. Flores‘ a new book associates a quote from a canonical outsider William S. Burroughs with a supremely lesser-known figure. A word from Marc Hardcore, leader of the Texas border punks launched in the 90s disgruntled party: “Shut up – get away from me!

Faster Than Sound : Neuf disques qui ont inspiré le <i>Valleyesque</i> by Austin author Fernando A. Flores”/>
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<p>To <b>BookPeople</b> event last month, celebrating the new collection of news <i>Valleyesque</i>, Flores said his younger self would appreciate seeing the two quotes installed next to each other in print.  The writer also likened selecting the book’s 14 delightfully surreal stories to creating an album – cutting some and adding others, over many years, to get the right tracklist.  Since the May 3 release with <b>MCD</b> X <b>FSG Originals</b>the author recently won <i>New</i> <i>York Times</i> acclaimed for “[floating] in and out of bizarre dreamscapes as if passing through a police checkpoint.”</p>
<p>The sonic sensibilities of the Rio Grande Valley have long saturated the work of Flores, born in Reynosa, Mexico, and raised in South Texas.  Alongside 2018’s early punk journeys <i>Death to the Bullshit Artists</i> <i>from south texas</i>psychedelia sneaks into the strange and funny familiarity of <i>Valleyesque</i>.  A story imagines a composer from the Romantic era <b>Frédéric Chopin</b>in a dream sequence set in Ciudad Juárez.  With such sound-minded literary chops, the <i>the Chronicle</i> asked the Austin’s employee <b>Malvern Books</b> on the musical fuel of his new collection.</p>
<p>Flores says he composed the nine most “Valleyesque” albums he could think of.</p>
<h3><i>Neighborhood fantasy</i> by El Gusano</h3>
<p>“The psychedelic and instrumental creation of a Vietnam veteran <b>Eugenio “Gene” Jaimez</b>from Cotulla, Texas, recorded in 1975 and originally released in a private pressing of 300 copies – this record deserves the red carpet treatment as a sui generis classic.”</p>
<h3><i>To Valerie Solanas and Marilyn Monroe in recognition of their despair</i> by Pauline Oliveros</h3>
<p>“If the title isn’t devastating enough, the music itself is. I play it as loud as I can at least once every eight months or so, and by the end of it, I still feel like you’re compacted into a cube useless metal.”</p>
<h3><i>Excerpts from the Saint Scumbrella</i> by Moira Scar</h3>
<p>“I saw this gothic, noise-pop and bluesy duo perform at a backyard show during <b>South by Southwest</b> 2010 with only about eight other people, and I haven’t recovered yet.  That was the record they were making at the time, and unfortunately it’s the hardest to find.  Takes me on a futuristic silent film, a transatlantic journey like no other.”</p>
<h3><i>Blue Fur Remnants: Sounds Frum Palfloat 1992-2006</i></h3>
<p><b>“Chad Hopper</b> is still one of the city’s most prolific underground musicians and artists.  Among all the mind-blowing material he constantly publishes, this out-of-print anthology of <b>Green Cherry Discs</b> is the one I revisit most often.”</p>
<h3><i>Touch of Evil (Original Soundtrack)</i> by Henri Mancini</h3>
<p>“My favorite of the Mancini soundtracks, of my favorite <b>Orson Welles</b> film.  It jumps and fizzes and lights up like neon in a smoky, rowdy, tequila-soaked room.”</p>
<h3><i>Duh</i> by foreign mothers</h3>
<p>“I lived in the duplex next to where this band was training, and every time they started I tried to siphon off some of that creative energy and use it to write. At least two stories in <i>Valleyesque</i> were partly written that way.”</p>
<h3><i>Bach: The Goldberg Variations</i> by Glenn Gould</h3>
<p>“Once in a while, when I feel out of balance, I sit alone in a room doing nothing but listen to these recordings along. The silence that follows reminds me that anything is possible.”</p>
<h3><i>Graphic like a star</i> by Josephine Foster</h3>
<p>“Along with her own lyrics, Foster’s exuberant, imaginary, folkloric landscapes make her one of the most original talents of our time, but here she takes <b>Emily Dickinson</b> poems and arranges them into sublime and dreamy melodies.”</p>
<h3><i>The skinny Elvis</i> by Big Boys</h3>
<p>“<b>Randy’s “Cookie” Turner</b> just made the cover of this publication the week he died in 2005. It was my second week in Austin, and I was standing by the stacks of <i>the Chronicle</i>s au <b>HEB</b> on Congress & Oltorf with Randy’s face, when a strange woman approached me, almost in tears, and told me that Randy had given her a place to live during a difficult time in her life.  One of the stories of <i>Valleyesque</i> is dedicated to him.”</p>
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<h2>Crosstalk</h2>
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<p><b>sinister</b>aka visual and musical artist <b>Solomon Perry</b>died May 11.  According to a <b>GoFundMe</b> set up to support Perry’s wife and three daughters, he “tragically and unexpectedly passed away”.  At the age of 13, the Nashville native’s artistic work landed him an opportunity to set design on a <b>Emmys</b>-winning TV show, framed by <b>James R. Threalkill</b>.  Specializing in Trompe-l’œil, or 3D optical illusions, the prolific artist competed in the 2015 competition <b>Oxygen</b> To display <i>Rejection of street art</i>.  In remembrance of the multi-hyphenated hip-hop producer, friends are planning a benefit concert on Friday, June 3 at 9 p.m. at <b>Flamingo canteen</b>with a suggested donation of $10.</p>
<p><b>Gary Clark Jr.</b> joins a star-studded list of artists announced for the soundtrack <b>Baz Luhrmann</b>it is <i>Elvis</i> biopic, alongside <b>Stevie Nic</b><b>ks</b>, <b>Jazmine Sullivan</b>, <b>Tame the impala</b>, and more.  The local quadruple <b>grammys</b>-the winner’s inclusion comes as no surprise, as Clark plays the American blues giant <b>Arthur “Big Boy” Crudup</b> in the film, alongside a few other casts of actual musicians, including <b>yola</b> as <b>Sister Rosetta Tharpe</b>.  Sequel to a previous big screen experience as a 2007 movie <i>Honeydripper</i>catch austinite in <i>Elvis</i> in theaters June 24.</p>
<p><b>C3 presents</b>concert organizer behind <b>ACL Party</b>extends its reach to a major lighting installation at Austin’s <b>Lady Bird Johnson Wildflower Center</b>.  british artist <b>bruce</b> <b>Munro</b>it is <i>Field of Light</i>, open September 9 through December, will illuminate 16 acres with rod spheres lit by solar-powered fiber optics.  Local Live Nation affiliate C3 also announced a new music festival in September called <b>Format</b> in Bentonville, Arkansas – spat out by <i>Bloomberg</i> to be “the next Austin”.</p>
<p><b>Alight</b> moved to 5013 Duval St., between Hyde Park’s <b>flight path</b> <b>Coffee</b> and <b>the Peddler bike shop</b>, in March.  The electronic instrument repair shop and showroom had been based in East Cesar Chavez since 2014, after it launched on 11th Street.  On Instagram, the shop teased possible events and more room for “restored vintage gear, synthesizers, electric pianos, tape recorders, gadgets, pro audio, mics and a few records too.”</p>
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