20 Years of Ty Evans’ Musical Supervision Genius, Which Also Has Included MuskaBeatz

Ty Evans has a sprawling new skate Film and this week sat for a similarly sprawling interview with the Nine Club, which helicoptered among his many career high points as well as satellite dish fetishization vehicle ‘Transmission 7.’ In it, Ty Evans discussed at some length his enduring and roundly criticized love for ‘electro’ and ‘drum-and-bass’ music, an unfortunate fondness that brought him closer to the Muska yet banished permanently some otherwise sterling video parts to the mute button or remix treatment.

Across a towering catalog spanning more than two decades, many of Ty Evans’ musical missteps are immediately apparent: the teeth-aching tweeness of ‘Yoshimi Battles the Pink Robots,’ for instance, or an out-of-tune indie rock band jangling their way through a Schoolboy Q number. Also, Moby. But these barrel-swimmers obscure rarer and more precious fish, such as the mysterious coelacanth, which are Ty Evans’ sporadic yet undeniable feats of music-supervision genius, deserving recognition as we gird for another techno-slathered opus.

‘Genesis’ – Stereolab, ‘Three-Dee Melodie’ (Richard Angelides)
After learning the ropes of basic video construction making Planet Earth’s ‘Silver,’ Ty Evans stepped out on Rhythm’s excellent ‘Genesis,’ turning up to the Chemical Brothers’ block-rockin’ beats and introducing an MTV-esque hyperactive editing style. But he also indulged a partiality toward atmopheric indie rock that played well off Richard Angelides’ spindly tech, for a sort of soothing/reassuring stoke that stands up two decades on.

‘The Reason’ – Fugazi, ‘Smallpox Champion’ (Matt Mumford)
Fugazi stands alongside Dinosaur Jr, the Rolling Stones, Public Enemy and Gang Starr as a skate video staple, and 1999’s TWS entry exposed a rapidly growing skate video audience to ‘Smallpox Champion’ for Matt Mumford’s El Toro-taming curtains-closer. At a time when Ty Evans’ deepening technophilia already was testing the patience of VCR owners worlwide, he was not prepared to abandon a standby that had earlier soundtracked Arto Saari’s ‘Feedback’ part and several in ‘Silver.’

‘Modus Operandi’ – MuskaBeatz, ‘Master B’ (Brian Anderson)
Ty Evans’ resume shows an affinity for nurturing and promoting young up-and-comers through his Films, a generosity of spirit that also extended to electrical techno music. In addition to Atiba’s credits-scoring bleepers of the early aughts, Ty Evans also prominently featured several MuskaBeatz productions, a bold move that helped to document a singular and surely weird era in skating that, despite revivalists’ best efforts, never will be replicated.

‘Yeah Right’ – David Bowie, ‘Fame’ (Chocolate montage)
With Ty Evans behind the lenses and handrails much in front of them, Girl’s ‘Yeah Right’ may as well have come from a different planet than the soulful schoolyard lines of ‘Mouse’ and ‘Paco,’ but David Bowie’s lightly psychadelic funk stroller would’ve slotted in seamlessly alongside Herbie Hancock, Cymande and Bob James.

‘Hot Chocolate’ – Andre Nickatina, ‘Ayo for Yayo’ (Mike York)
As Alien Workshop has produced Dinosaur Jr pro models, and Zorlac Metallica ones prior to the Gulf War, so should Crailtap have bestowed a pro model on the onetime Dre Dog. Here, Ty Evans nods to both Mike York’s Bay heritage as well as Andre Nickatina’s prior inclusion in a Chocolate vid, while further setting the stage for some other audio songs about selling cocaine in future videos.

‘Fully Flared’ – Mannie Fresh, ‘Real Big’ (French Connection)
Lakai’s landmark 2007 full-length is generally and correctly regarded as the peak of the Crailtap/Ty Evans partnership, and song-for-song is probably the strongest in terms of musical accompaniments earning his blessing. This urgent, shouty Mannie Fresh anthem, a sort of primal materialistic scream from within a cartoonishly appointed mansion, stands as the best song in any Ty Evans-helmed Film to date; paired off Lucas Puig’s luxury-brand tech, it makes a strong argument for the greatest song in any video ever. Hearing it gives one the sense something important is happening, and the repeated, blaring synthesizer line at the end is one instance where Ty Evans’ careerlong overindulgence in slow-motion makes perfect sense.

‘Fully Flared’ – Tear Da Club Up Thugs, ‘Triple 6 Clubhouse’ (Mike Carroll)
On this week’s ‘The Bunt,’ Alex Olson recalled — with some disappointment as a fellow techno devotee — Ty Evans’ rap fixation during this period, including a taste for Three 6 Mafia’s classic flip on the chipmunk soul era, ‘Stay Fly.’ Mike Carroll’s Lakai section, which remains a career top three, wisely avoids such an on-the-nose pick and breaks for the more menacing ‘Triple 6 Clubhouse.’ Built around an erudite theme about killing people, the song includes enough cinematic transition to appeal to Ty Evans’ dramatic leanings, and the hardheadedness required to get viewers through the mewly Band of Horses sounds to come.

‘Pretty Sweet’ – Beastie Boys, ‘Looking Down the Barrel of a Gun’ (Alex Olson/Mike Carroll/Brian Anderson)
This combo Girl/Chocolate Film was pitched partly as a transitional feature focused on Crailtap’s newer generation, such as the Trunk Boyz, with many veterans relegated to shared parts. Orienting one of those around Alex Olson was sensible, since he comes off as sort of an old soul, making it worthwhile to throw back via the Beastie Boys, who soundtracked a seminal MC part in ‘Questionable’ and got money with Spike Jonez on several nonconsecutive occasions throughout the 1990s.

Turn Up Deep Web

Several years ago, Emerica shoes marked the end of a bold and promiscuous era by releasing “Stay Gold,” billed within urethane-wise punditrydom as “tha last video ever.” Girl and Chocolate under their own advances a short while later launched “Pretty Sweet,” also the last video ever, and Plan B toward the end of 2K14 widely is expected to place a MegaRampTM-shaped capstone on the video era upon completing “Tru, B” which not only is understood to be the last video ever but furthermore to potentially never come out at all, just to make the point.

Where does this leave our independent video maker? If you are named Ty Evans you actually are a Filmmaker and shall be contracted to a burgeoning action sports production house for the use of proprietary Filmmaking UAVs and certain other automated devices that aren’t yet all legal under county-specific statutes penned by wizened barneys. For the remainder, do they continue to absorb the financial hardships, bristly market risk and hours spent lying in gutters, occasionally sprinkled with sustaining dollops of funding from shoe conglomerates or free boards from their bro’s warehouses?

There are relatively few big-name companies attached as backers to “Statics 4 & 5,” Josh Stewart’s sprawling ode to nocturnal nooks and crannies of the five boroughs, and the steadily clattering insomniac tunnels that stitch them together. At this point Josh Stewart’s sunk the better part of two decades into filming skating and making videos, he’s spoken of the challenge making a living at it even before the internet obliterated both the hardcopy format and the longform video, and more recently talked about how he gets money videoing more-pedestrian shit, probably with additional perks such as sensible hours and fewer threats from wayward autos and authorities.

Is this Josh Stewart’s last Static vid? Maybe or maybe not, but between the Henry Edwards and Jeremy Elkins and Peter Sidlauskases of this current plane of existence it seems the curse of the independent video filming life will continue to cloud and arouse youngsters’ minds, whether or not board and shoe makers deign to continue sinking years’ worth of marketing budget lucre into full-length DVDs or high quality Blu Ray products for HD TVs. Josh Stewart, as elder a statesman in all this as Dan Wolfe or Fred Mortagne at this point, suggested this may not be such a bad thing, in spite of any ensuing financial hardships, or perhaps because of them:

One of the rad things about the skate video as an art form is that most of the people doing good work in the indie video scene aren’t motivated by financial gain. And it makes it more pure as an art form when it has to be done on the side of making a living.

The “Static 5” opening sequence, with its tribal chanting, drums and dudes silently walking through tunnels, gives you a sense of how Josh Stewart may view shit and moustachioed literary analytic types might be inclined to draw some “Last of the Mohicans” analogy.* In a time when social media-abetted personal branding has incented standalone video parts and projects catering to specific dudes’ approaches to skating, the 4th and 5th “Statics” are one of the more cohesive and well put together full-lengths in quite a while. The Slap board commentary cycle may have reduced Josh Stewart’s aesthetic to “cellar doors” around the time of the third installment but there’s still few who can argue better for it, and with the exception of the Bronze vid, to which it really is unfair to compare any video, there is no better soundtrack this year, occasionally ripped straight from the trains and platforms.

With the volume of cellar doors transferred to and bars hopped (Aaron Herrington grabs the no-comply title straight from the jump) it was wise if indulgent to bisect this project into a pair of “Photosynthesis”-optimized runtimes, even though there’s satisfactory variety when it comes to this type of skating. Aaron Herrington goes bio down three banks, Yonnie Cruz is awarded most ambidextrous, Brian Clarke displays a rarely seen frontside noseslide shove it and Brendan Carroll behaves similarly with a nollie manual. There are cameos by some of Japan’s street alchemists whose style really has no father but could plausibly claim the “Static 2” Traffic/Puleo parts as an irritable uncle. Dustin Eggeling turns in the obligatory fakie frontside noseslide shove it and thereby soothes certain 1990s ghosts, Jimmy Lannon continues to embody one of the better examples of how less oftentimes is more and Jake Johnson does his mountain ride, with the skate sounds dialed down and guitars turnt similar to an Alien video. Jimmy Mastrocolo, Daniel Kim and Keith Denley should do parts in next video Josh Stewart does, if there is one.

The best-made part in this entry though may be Jahmal Williams, who Josh Stewart pairs with an aging subway dance squadron led by a dude who claims to be over 45 and literally toiling underground, “keeping the art alive” on behalf of tourists and passing worker bees. Jahmal Williams still has it, boosting up traffic barriers and igniting one of the better filmed rick flips recently and issuing a memorable “one more” plea in pursuit of nighttime breakdancing glory and possibly the promise of parachute pants riches yet to come. If these are really the last ones of Josh Stewart’s “Static” series, they do it justice and make a case for the dude mastering his craft, copies can and should be purchased from Theories of Atlantis.

*Not this blogosite though, never that