Saturday, May 03, 2008
"Re-make/Re-model: Becoming Roxy Music" by Michael Bracewell
Kind of a breath of fresh air, right off the bat, after the Paul Morley Joy Division book, which got pretty tedious...but which at least had one tangential Brady/Hindley reference.
Friday, May 02, 2008
Thursday, May 01, 2008
And I hope that my band mates in Animal Law are not going to put a contract out on me...
WIERD COMPILATION VOL. II :
ANALOGUE ELECTRONIC MUSIC 2008
4LP + 32 PG BOOK
Wierd Records is proud to present the Wierd Compilation Volume II : Analogue Electronic Music 2008, an international collection of 39 trax by 30 bands producing contemporary music with analogue synthesizers, sequencers, and drum machines. This release is made up of four vinyl LPs packaged in a deluxe gatefold sleeve and accompanied by a 32 page 12" x 12" book containing lyrics, band bios, and over 300 photos, many taken from live performances at the weekly Wierd label party, which has been active in New York City since 2003. Also included in the booklet is a statement of purpose for this vast project entitled '2008 : The Analogue Synthesizer as a Folk Instrument of Humanist Resistance' that is as ambitious conceptually as it is musically. This is a hand-numbered edition of 1000 copies.
Over the past several years, electronic musicians have slowly removed themselves from the visceral aspect of musical expression as they have more completely embraced the computer as the generator of contemporary sounds. It is in this climate that the Wierd Compilation Volume II proposes that analogue electronic music no longer represents a post-apocalyptic vision of an uncertain 'post-human' future as it once did at the inception of New Wave in the late 1970's. Today, the situation is precisely the opposite. In the world of 'click and drag' virtual software synths, the analogue instrument represents a new form of resistance by preserving and affirming the human presence of the artist through his direct interaction with the machines and the electricity that runs through them. In doing so, the supposedly outdated instrument is reborn as a folk instrument not unlike the acoustic guitar, violin, or hand drum.
Inspired by the seminal compilations of early industrial music such as Xtract Records' 'The Elephant Table Album' and 'Three Minute Symphony', Third Mind Records' 'Life at the Top', and the 'Insane Music' cassette series, the Wierd Compilation Volume II brings together independent artists from the new minimal electronic music scene emerging in New York, Miami, and all throughout continental Europe with the the firmly established Noise scene in the US. In the same spirit that these early genre-traversing compilations brought together both pop and experimental artists who were united by their resistance to the superficial excesses of commercial New Wave, the artists on this release are united by their DIY attitude and their resistance to the virtual excesses of modern laptop pop. All have found analogue synthesizers to be the ideal instrument for producing raw, emotive music in a world where the human touch and presence is quickly getting clicked and dragged into oblivion.
1. Xeno and Oaklander - 'A Beginning'
2. Martial Canterel - 'Windscreen' [CLIP]
3. Envenomist - 'A Vague Disquiet'
4. Staccato du Mal - 'Su Ultimo Secreto' [CLIP]
5. Demons - 'Sick by Water'
1. Spine Scavenger - 'Weighted Ghost 2'
2. Epee du Bois - 'Misery' [CLIP]
3. Xeno and Oaklander - 'Blue Flower'
4. Angel of Decay -
'Malignant Tumor of the Heart' [CLIP]
5. Flesh Graey Display -
'A Smoke Filled Room' [CLIP]
1. Wave Tank - 'For Whom the Bell Tolls'
2. Hive Mind - 'Omission' [CLIP]
3. Human Puppets -
'Faces(Behind Walls and Closed Doors)' [CLIP]
4. Waves - ':59'
5. A Squared - 'Soulfood'
1. Carlos Giffoni - 'There are Other Gates' [CLIP]
2. Xeno and Oaklander - 'Celeste' [CLIP]
3. Pax Titania - 'Cycles:13'
4. Audiodakt - 'Wahrheit'
1. The Siamese Pearl - 'Destroying the Prefrontal Cortex' [CLIP]
2. Vendome - 'Lightwave Emissions' [CLIP]
3. Waves - ':10'
4. Sleep Museum - 'Nepal(Departure)' [CLIP]
5. Charlie Draheim - 'Guts on the Dancefloor'
6. Private Entertainment - 'Serenade(For a Changed Heart)'
1. Martial Canterel - 'Pathway Splits Apart'
2. A Vague Disquiet - 'In Fives: Failure Edit' [CLIP]
3. Angel of Decay - 'Cold White Beds'
4. Three to Forgotten' - 'Frostbite' [CLIP]
5. Tobias Bernstrup - 'Enemies of the Earth'
1. Sleep Museum - 'We Who Are'
2. Opus Finis - 'Perplexed Pathos'
3. The Siamese Pearl - 'The Rape of Persephone'
4. Led er Est -
'Woman in a Cafe/Communication' [CLIP]
5. Hive Mind - 'Templar'
1. Cadaver in Drag - 'Hair, Skin, and Teeth'
2. Epee du Bois - 'Jurieux in the Garden'
3. Ronin - 'For a Dead Lady’
4. Zug Im Veins - 'Je Suis un Autre' [CLIP]
Today's repeat player:
Tindersticks "The Hungry Saw"
Spine Scavenger "Shackles Of Man-Measured Time" LP (Troniks)
Rape-X "Sex Tape" 12-inch (Land o’Smiles)
Rape-X "Human Shit" CD-R (self-released)
Al-Thawra/Winters In Osaka "Wasteland" CD (Najdiyya Records)
Peaking Lights "Clearvoiant" cassette (Night People)
Wednesday, April 30, 2008
BloodLust! New Release - Out Now:
Format: CD in jewel box
Catalog Number: BloodLust! 111
Genre: Power-Electronics / Noise / Industrial / Experimental
Nearly twelve years have passed since "Power" was first released by BloodLust! in an edition of 50 C-60 cassettes that immediately sold out; Nearly five years have passed since Hydra main-main Greg Scott's death; Very little remains of his musical legacy, so it seemed like an appropriate time to re-visit this barely heard recording from Greg's short-lived, post-Final Solution band; The disc is comprised of studio and live recordings (similar to the 1992 Final Solution "Half/Dead" cassette on AWB Recording) and the live tracks offer some moments of memorable, between-song banter from Greg; The CD has been mastered to deliver a strong, clear, powerful sound, without sterilizing the original cassette quality and feel; The artwork was designed to suggest the look of the BloodLust! cassette series (1995-1996) that "Power" was originally released as a part of; Pre-production assistance generously came from Isidro Reyes (BLOODYMINDED, The Fortieth Day, A Vague Disquiet) and Greg's close friend and band mate, Peter Messina (Hydra, Beg For Eden); Mastered for CD by Salvatore Dellaria at Eightysevenwest Recording in Chicago, Illinois; Professionally duplicated CD, single panel, double-sided insert; black and white and grey artwork; in jewel box with shrinkwrap; Released in 2008
1. "Force" (5:25)
2. "Death's Dimension" (6:12)
3. "Past Life Recall" (6:03)
4. "Gun God (Time Killer Mix)" (9:09)
5. "Break Away" (10:02)
6. "Self Hatred" (10:03)
7. "I Don't Exist" (5:35)
8. "Dead World (Excerpt)" (5:28)
$14.00 USA/$16.00 Canada+Mexico/$18.00 Rest of World @ postpaid
Tuesday, April 29, 2008
Sunday, April 27, 2008
Maybe I am way off base here, but I thought that the point of listing a show with a "suggested donation" amount was typically to help protect unlicensed venues from any problems that might arise from charging at the door --- not to suggest to freeloaders that it is okay to forgo paying the full amount --- particularly at a show like this where people were on tour and/or drove some distance to perform.
As important as I feel it is to continue organizing and promoting shows, like this one, in Chicago, this is one more reason why it seems like a less appealing road to continue down in the future...
Friday's show at The Flowershop was one of my favorite events that I have ever set up. It was really satisfying, conceptually, to combine a range of artists that went from harsh noise to fun electro, practically dance music.
Peaking Lights started off the night by getting some electric shocks and then by combining some mad scientist equipment action with a more "pastoral synth vibe" - with an unusual strain of minimal synth, building beautiful songs and nicely bridging the gap between what Aaron Dilloway and Magas were doing. It was a pleasure to see/hear Peaking Lights play in Chicago again, so soon.
Club Spouse (AKA Henry from The Flowershop, formerly of Cleveland, Ohio) started out building up a solid, steady beat on a drum kit and then he turned to build up an increasingly dense web of electronics. This was the first surprise of the night, as his thing sort of came out of nowhere. I would like to see him on a bill with - or possible facing off against - or collaborating with - Pisspisspiss Moanmoanmoan. There was a shared sensibility at work.
Jason Soliday was up next, and let me start by saying that there were a couple of girls standing pretty close to him - and close to the speakers, too. When Jason blasted on (off?), both girls literally jumped up into the air in fright/surprise. Amazing! This was the harshest and most to-the-point set that I have ever heard from Jason. He must be prepping for the Astro shows...
I played next and I did an extended feedback build-up before calmly moving into the alternate vocal melody of "In Fives." I was told that it was "loud" and "extreme." It lasted about 18 minutes, and I got a really clear recording, enhanced by the sub-woofer action.
Magas came on shortly after me and he got the crowd moving with his beats and undeniable stage presence. It was great to see/hear some cool Arp Odyssey action going on, too. The highlight may have been "Goose In The Graveyard," just because... Totally cool to see Jim play in a non-club situation. Um... very rare...
Aaron Dilloway was up last, with an unannounced special guest: cellist Hans Buetow of Graveyards fame. I almost do not want to describe what occurred. I sort of just want to keep it in my mind. Safe to say, with modular synth and chaser-light sequencer at hand, we were treated to yet another facet of Aaron's arsenal... something that might have been heard at a progressive-minded art institution, circa 1971, maybe? I am not even sure what terms to use. "Expansive"? "Next level"? Anyway, it was a treat.
Thanks to Henry at The Flowershop, for hosting the show - and to all of the other folks there that helped throughout the night. Thanks to Jason Soliday and Eric Leonardson, for letting us use the full Enemy PA. Thanks to Aaron and Hans and Indra and Aaron, for visiting Chicago. Thanks to James Marlon Magas for taking part. Thanks to everyone who came out to support - since there were at least three other shows/events that split up the potential audience for the night --- and particularly those who actually PAID to see this event (or paid the suggested amount). I feel like I have to say that the take at the door was embarrassingly light to hand over to the out-of-towners.