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Pitchfork Book Club highlights today’s best new music books.
The adventure of the 13th Attic Elevators is generally told in abrupt bursts and aberrant visions—part alluvial chaos, allotment hallucination. The beat consciousness-expanding bedrock aculation lasted aloof four years in the backward 1960s afore beat aback into the haze. There is little video footage and few interviews from that time period, and it was alone afterwards that the admeasurement of the Austin band’s access became clear; their abrupt history was about destined for underground music mytlogy. Fittingly, a new coffee table book aggregate by biographer and Elevators historian Paul Dmond captures the band’s aspect in cogent fragments, through calm ptos and memorabilia, mini articulate histories with the ociates and copious annal from the Austin Police Department.
In some of its added apprehensible moments, 13th Attic Elevators: A Visual History offers dispatches from the band’s determinative days, centered about abstracted frontman Roky Erickson, artisan and electric jug amateur Tommy Hall, guitarist Stacy Sutherland, bagman John Ike Walton, and bist Benny Thurman. As the aculation evolved, a alternating casting of musicians and acknowledging characters larboard a mark on their complete and sensibility. A them were Hall’s wife Clementine, w helped appear up with their name, and bounded music amount Powell St. John, w led them through several artistic breakthroughs. The 13th Attic Elevators aated themselves like a community—united by a aberrant way of attractive at the apple and a affection for mind-altering drugs—and their adventure feels all the added bewitched as you e in deeper. As a New Orleans MC commented during one of their early, LSD-soaked alive sws, “It aloof kinda keeps activity and keeps going.”
The afterward extract from 13th Attic Elevators: A Visual History, appear by Antlogy Editions, recalls the band’s ancient meetings, acerbic trips, and sws.
The new bandage bare a name, and, as was already acceptable typical, this became addition battlefield for control. While John Ike recalls that the abstraction came at the aboriginal meeting, Clementine is appropriately ertive that it didn’t.
Roky Erickson: There’s not a 13th attic in a building, so we said, “We’re arena on it.” It was like, if you appee to get to the 13th floor, ride our elevator!
John Ike Walton: We sat bottomward and said, “We’ve got to accept a name for this band.” I said, “How about the Elevators?” Clementine admired that name and said, “Oh, able-ied we’ve already anion about that.” But they hadn’t, because we went anon from the bandage allowance to the table in the kitchen and I’d anion of it. And an she anion of “the 13th Floor,” and we put the “13th Attic Elevators” calm as a name—well, she did. The aing day, Tommy comes over and he says, “How about ‘the 13th Attic Elevators?’” At that point, Tommy claimed that he anion of the name. But Tommy was a cheat and a thief.
Clementine Hall: No, the bandage name came afterwards than that aboriginal meeting. I bethink actual acutely the atramentous that the bandage was named. At the time I was autograph a gothic novel, and I was lying in bed with Tommy and he said, “We’re aggravating to appear up with a name for the band; do you accept any suggestions?” So I said, “Well, there are a lot of atramentous bands that
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