"Samara Lubelski's 5th solo LP Future Slip serves up a gorgeous and friendly collection of bittersweet melodies, sinister basslines, gestural Polaroid lyrics, and spot-on drumming- garnished with sprigs of fuzz, paired with a guitar Riesling. It is a record of knowledge and innocence, of truth and fairytale, of wonder and clarity. Envision France Gall performing the songs of Sterling Morrison and Mo Tucker with Ralph Molina on drums. The show is at a loft across Bowery from CBGB's and the only person in the audience at soundcheck is Jandek, cross-legged in the middle of the floor. Produced by Thurston Moore. Our story is already in progress as of the late '90s. NYC native Lubelski's howling, droning/pizzicato/Psycho violin rides atop Neu! inspired beats and alongside budget guitar arpegiations in the group Hall of Fame -- a band excellently obsessed with the second Red Krayola LP, Gamelan orchestras, and amassing bewildering piles of equipment and cables onstage. Occasionally she picks up the guitar and sings a 'proper' song, though it is only partly discernable among the rumble and flicker. Like some sort of two-way prism, all of the components of what would eventually be called the New Weird America passed through the Hall of Fame/Tower Recordings bottleneck in New York. The beardo folk, the freeform improvisation, the Krautrock, heavy psych, 20th century avant-garde, ethnographic field recordings, the Godz, the Fugs. This rainbow of influences was all turned into a single blistering white light on free Monday nights at the Cooler and gallery parties. The scattered releases made by Hall of Fame/Tower (the latter of which Samara joined) were glued to turntables from Atlanta to Brattleboro, and their influence passed outward into a variegation of likeminded fellow-travellers. After those bands ended, Samara made the crucial In the Valley album (with M.V. producing) and then announced she was going to make a pop record. Over the course of 3 LPs on the Social Registry label, the occasional murmur from the Hall of Fame days became a full-blown songwriting affair. Samara found a working method that she continues with to this day: Cutting basics in her second home of Stuttgart, Germany with members of psych-freakers Metabolismus and bringing the tracks back to New York to collaborate with her U.S. cronies, which this time includes PG Six, Helen Rush, Steve Shelley, Willie Lane, Nicolas Vernhes, Werner Notzel, Moritz Finkebiner, and Thilio Kuhn. In 2007 longtime fan Thurston Moore recruited Samara and her violin skillz for his Trees Outside the Academy album and tour. Familiar with the solo work, Thurston wanted to hear a new type of record from her: more confident, bolder. He offered an Ecstatic Peace! release if he was allowed to produce. Samara poached drummer Steve Shelley for her band, adding the missing backbeat to a swarm of overdubs. Thurston produced the mix sessions; lying sick on the couch calling out for more and more elements to be louder until a wonderfully aerodynamic version of the songs flew forth. And here is the result: Future Slip is a worldly record, a record which offers 'a taste of the new dimension' but warns of 'guru bummers'. To a sunny day it adds the shadows which allow the perception of depth. On a rainy day it offers a selection of cakes. Anyone who does not dig this record deserves our pity, as they know nothing about the joy or sadness of life."