Tuesday 27 August 2013

Akos Rozmann - Images of the Dream and Death (Ideologic Organ)


This is a new release of music by Akos Rozmann. You don't need me to tell you how good it is.

Here's what Akos says about it:

'My intention in composing this work was, with the aid of sound, EMS and the studio of the State Academy of Music in Stockholm between August 1974 and June 1977, to portray Good and Evil. I failed, however, to depict Good “idealistically”. The figures which I use here are always characteristic of deserted, anxious, weeping humanity. When I conjure forth the Good in the introduction to a piece, other “forces” soon make themselves felt. The beginning of the third movement, for example, reminds one of the sound of distant bells. These approaching impulses inspire peace and serenity, but all the alien elements which then reveal themselves stand in the way of “development”; their impact is devastating. The sound of the bells becomes muddied, it is transferred beyond recognition and finally ceases. With my composition I seek to describe a process. The main emphasis is on the two contrary elements declaring themselves simultaneously, and on a scrutiny of the changes which occur when they interact. First movement: “sounds” characterizing various “types” (Good and Evil) — cries, weeping, shrieks, grows, etc. — occur at random and are linked together by noise, movements, beats, etc. Second movement: this portrays various forms of matter and various phenomena connected with our existence: a. Earth b. Water c. Movement-energy. The structure of movements 2 and 3 is characterized by the different blocks accompanying one another. Each block is a fully worked-out unit, the meaning of which depends on the position it occupies in the development of the composition. Third movement: the “sound types” from movement I now constitute different groups. Among them we find blocks denoting the Good (e.g. the sound of bells) or Evil (e.g. metallic rattling, violent blows, the knocking of wood-like objects). The antitheses discernible between the musical units are a new element.'


Wednesday 21 August 2013

Concrete Fence - New Release (1) (PAN)



New Release (1) is meaty, sometimes beaty, very big and not quite bouncy. Regis and Russell Haswell form a Concrete Fence so high you can't get over it, so low you can't get under it. No hint of tension between the pure Noise merchant (Haswell) and pile-driving Techno artist (Regis); instead, the pair cement (ha-ha) their musical relationship on equal terms. This filthy techno porn is so good that the government might consider banning it, but on what grounds I'm not sure. Corruption? Degrading others who might try something similar? I don't know. I do know that every time I press 'play' and Industrial Disease gets going I get the kind of buzz I used to get from No U-Turn and Metalheadz records. In fact, the ghost of Doc Scott at his best may well haunt this beast, consciously or otherwise. Pitched perfectly between stripped down, iron-clad sound waves and rigorously crafted rhythms, it's a shape-shifting predatory monster. Magnificent.

Tuesday 20 August 2013

Kaboom Karavan - Hokus Fokus (Miasmah)


Imagine music by René Magritte, arranged by Max Ernst and played at a carnival of lost souls...heard on the wind...from a distance...

...a kind of mystical masterpiece...a mirage flickering on the far horizon of an imaginary land...or in the case of Sardonis, an island dreamt up by Les Baxter... 

...strings plucked, bowed and strummed form somnolent rhythms and waves of sound...sending the listener into a waking dream state where what is barely heard exerts a mesmerising kind of power...

...musique liquide...fantastical, morose, whimsical...wherein a lone trumpet or saxophone may meander...and the spirit of old-time finger-clicking Jazz and 'boom-ba-doom' vocals almost collapse, disappearing into the ether...

...electro-acoustic alchemy awash with submerged voices, strange strings and unnameable things that creak and groan in the night...

...like folk forms from a bygone future...

...playful & plaintive...

...a soundtrack for the film in your head that's filled with fantasmagorical sights and sounds...disturbing and delightful...


Monday 19 August 2013

Nightclub Flyer, Parisian Style: L'Enfer - Cabaret Unique Au Monde


When I ran clubs I'd hand out flyers, but none were half as good as this. I found it in a junk shop on Saturday. It must have been one hell of a night out. Should I finally get that time machine and be able to take electricity back with me I'd love to be the resident DJ. This would get an airing...


In Bohemian Paris of To-Day by William Chambers Morrow and Édouard Cucuel, from 1899, Morrow describes his experience in L'Enfer: 

'"Enter and be damned, the Evil One awaits you!" growled a chorus of rough voices as we hesitated before the scene confronting us. Near us was suspended a caldron over a fire, and hopping within it were half a dozen devil musicians, male and female, playing a selection from "Faust" on stringed instruments, while red imps stood by, prodding with red-hot irons those who lagged in their performance.
   Crevices in the walls of this room ran with streams of molten gold and silver, and here and there were caverns lit up by smouldering fires from which thick smoke issued, and vapors emitting the odors of a volcano. Flames would suddenly burst from clefts in the rocks, and thunder rolled through the caverns. Red imps were everywhere, darting about noiselessly, some carrying beverages for the thirsty lost souls, others stirring the fires or turning somersaults. Everything was in a high state of motion.'

A download of the book can be found here 








Saturday 17 August 2013

Shapednoise - Until Human Voices Wake Us (Opal Tapes)


Shapednoise unleashes a battalion of evil alien killing machines designed to annihilate all within listening distance - resistance is futile. Although Until Human Voices Wake Us is almost a direct quote from the final line of T. S. Eliot's The Love Song of J. Alfred Prufrock this music translates the stanza's talk of 'sea-girls' into a very different scenario. Whilst Eliot imagines a dreamy aquatic realm, the 'chambers of the sea', Shapednoise creates a terrifyingly seductive soundscape of mechanoid mayhem. 

Brutal yet sleek, rhythmic and riotous, it begins with the pounding of a heart under attack and never lets up. But the internal logic to all this noise ensures that it succeeds in fusing Industrialised techno with textures that might otherwise prove too punishing. Like a homage to Futurism, it revels in the power and glory of speed machines which roll through the pastoral landscape of easy listening, laying to waste soporific tranquillity as they do so. The minimal use of old-fashioned beats lends a lean, muscular feel to the whole affair, aided further by moments of stripped-down sound. 


Friday 16 August 2013

Nikolai Orlov Capture The Still Moments Of Life: Crimea (Tauria Publishers, 1980)


I may be totally alone in loving this book, but I do, and consider it one of my Finds of the Year. There are many more great photos but I'm going to use them for a project. Sorry, but if, like me, you love the look of these, well, begging might get you a few more. I don't envisage many takers for that offer...











Thursday 15 August 2013

Two or Three Things I Know About Her: Analysis of a Film by Godard - Alfred Guzzetti (Harvard Film Studies)

Two or three things I know about this book...

I bought it at a reduced price in part-exchange for books I sold to the shop.

It describes in great detail Jean-Luc Godard's film, Two or Three Things I Know About Her, and seems like a ridiculous publishing venture but is appealing for that very reason.

I will never read two or three thirds of it.










Wednesday 14 August 2013

Lithuanian Lady Boys - Demonic Possession In Post-Industrial Britain



Lithuanian what? Possibly the most stupid name ever created, but the 44-minute darkside exploration of sonic possession is worth hearing, journeying as it does through ever-changing passages of various tonal moods. It culminates in what might be considered the clichéd ominous thump of a ritualistic drum, but it works. I can't say more than when a track this long holds my attention you'd better believe it's good.

Buying the limited (23) edition 2-disc version (in a slim DVD case) gets you 10 tracks from the session. This whole package has the feel of lads messing around (especially with a name like that) but the music, whilst not exactly being complex, has some clout. Like a homage to both the Radiophonic Workshop's heavier work and Demdike Stare, then some. No names attached, simply LLB1 and LLB2.

Their previous albums, especially Structure 1, are worth getting too. The other is JG, a tribute to J.G. Ballard.

Their Bandcamp page

From the Demonic Possession In Post-Industrial Britain sessions:

Monday 12 August 2013

Space In The Place





Realising that my book collection must be finite due to the space it's contained in is akin to becoming truly aware of death. The reality of both has been ever-present, yet not fully acknowledged. This must be how we survive daily life. Those facts may also act as motivational forces, of course, which drive us to make the very best of things, to live as best we can and seek the finest books. Conversely, according to one's psychological make-up, they may render both Life and collecting books meaningless, a waste of time, since both must have an end.

My room is in disarray due to forthcoming works on the damp and cracked walls. I sit here at a desk that has been repositioned to accommodate the work, facing a wall instead of the window, with some books piled wherever there is space whilst their former shelf-mates inhabit another room. The forced disordering of the collection seems to have also sparked a disordered state of mind, as if I am tuned in to them and cannot help but reflect their state of existence.

Andy Warhol's words about space are typically amusing. He says '...everyone should live in one big empty space' and goes on to admire the Japanese tendency to store everything in cupboards before saying 'But I wouldn't even have the cupboards, because that's hypocritical'. He suggests that if you must have a closet, and live in New York, 'it should be, at the very least, in New Jersey...you don't want to feel you're living next door to your own dump.'

Space as an aesthetic experience is interesting, but in a home I would find it dull. I could never be one of those minimalist types who inhabit largely white spaces in which hardly a thing is visible because all moveable objects are stored in fitted cupboards. I'm not sure those people really exist, except in adverts and design magazines. In such spaces, the kitchen for instance, one crumb of bread on the work surface would have a devastating effect. Besides, space for most city-dwellers is not an option. We Londoners in the lower financial bracket are lucky to have a room, never mind room to create a minimalist environment.

LJ and I talk about space a lot right now due to the works that are about to be done. We argue about the merits of 'things', those things being my books, usually, but also clothes that the moths get more use out of than us. I am not so fanatical about collecting books that I cannot see her points about those I possess. Yet I still struggle to acknowledge that I can only ever own a limited amount.

Over the years space for more books has been constantly created by selling those which are finally deemed unnecessary. Book-lovers all have them; those which we've been intending to read for years but never have and those we've read and will not read again but still keep. On the plus side, the disruption and subsequent movement of all these books forces me to reassess their value. On the negative side, I don't want to have to do that.

Amid all the books piled on other books, ironically, there are books on books, of course, which I would quote from but they're buried and hidden under all the other books. Jorge Luis Borges said it all: 'Sometimes, looking at the many books I have at home, I feel I shall die before I come to the end of them, yet I cannot resist the temptation of buying new books.' Does he live with a woman, I wonder? I should qualify that before you think I'm being sexist; does he live with a woman who does not collect books? I doubt it. I imagine Borges as the solitary type, the fierce intellectual surrounded by ancient, obscure literature.

Jeanette Winterson said it even better: 'Book collecting is an obsession, an occupation, a disease, an addiction, a fascination, an absurdity, a fate. It is not a hobby. Those who do it must do it. Those who do not do it, think of it as a cousin of stamp collecting, a sister of the trophy cabinet, bastard of a sound bank account and a weak mind.'

I have no books by Jeanette Winterson, but she is spot-on in what she says. To non-collectors, books are simply objects taking up space. They may as well be stamps, or dolls, or shoes, all of which, I have no doubt, also involve some emotional investment of behalf of their collectors. Perhaps not shoes. Or handbags, although serious collectors of both will say differently when brandishing a prized vintage item.

Yet there are times when I do feel like giving them all away. How wonderful it would be to simply leave, say, Bob Howard's Hollywood Sex God on a park bench, retire to a safe distance and observe people's reactions upon finding it. Any takers? I wonder. Sun Ra's Immeasurable Equation left on a bus, perhaps. The thought of it being left for the cleaner to throw in a rubbish bag is unbearable.

In a few days they will be reunited with each other although, to be honest, there will be a few less of them. I concede that, for us to continue living here, there has to be a little more space in the place.

Saturday 10 August 2013

Seth Nehil - Lair (Draft Records)



Enter the Lair, if you dare - it's not for the feint-hearted, nor is it bog standard dark horror ambient fare, the kind drooled over by electro-Goths flirting with Old Nick. I shouldn't even mention the genre, but with titles such as Filmy, Blade and Dense you might think Seth Nehil's in that realm. Bulk, for instance, has the feel of Morricone's best horror scores, complete with wordless female vocals, but Nehil creates much more than a simple homage.

It's more like being stuck in a lift with Francois Bayle and Pierre Henry in a bad mood - yes, that good. But unlike Bayle's epic compositions, Nehil's are bite-sized, the longest being 4.20. He packs a lot into short spaces though, so perhaps it's best to mention Dense, in which hobgoblins chatter, the earth rumbles and beasts seem to prowl.

This is sound art psychodrama of the highest order, loaded with little details which ensure that repeat plays are rewarded. There are even brief bursts of sub-bass, but Nehil's never going to be mistaken for anything like a post-Dubstep or Dance avant-gardist.

Have a look at his Bandcamp page (Knives & Furl are recommended).

His site is here

Draft records

Friday 9 August 2013

Film: Rolling Thunder (1977)



'Why do I always get stuck with crazy men?' Linda (Linda Haynes) asks Major Charles Rane (William Devane). ''Cause that's the only kind that's left', he replies. Yes, all men are crazy. Linda should have known. Like so many women in crime films she just can't help falling for the crazy one that's going to drag her down to Hell. Not that she could have imagined what the Major was like when she presented him with  2,555 silver dollars (one for every day he was a captive in 'Nam) during his Welcome Home ceremony. Trouble is, those coins are the reason things turn very bad.

Typically for once Young Americans returning from the Vietnam war, Major Rane inhabits The Real World like a ghost. 'Everything passes', he says at one point; everything, that is, except the effects of being tortured. He's so numbed that even the advances of Linda fall on barren ground. 

When the Really Bad Thing happens to his wife and son along with his hand being mangled it's time to sharpen the hook, saw off a shotgun and go tear-assin' (as I believe my American friends might say) down to Mexico. That place is full of greasy, evil types, 'gringo' this and 'gringo' that. Not that the Major is gung-ho about his task, he's more a stealth kind of avenger, preferring to send poor Linda in first to act as bait and soften them up.

Quentin Tarantino listed Rolling Thunder as one of his all-time favourite films but don't let that put you off. Paul Schrader and Heywood Gould's script is lean, lifting it way above the average revenge thriller. As you'd expect of Schrader, it's good at plumbing the depths of a dead soul. There's an obvious similarity with Taxi Driver too when the final reckoning takes place in a brothel. 

The fact that the Major drives around in a red Caddy the size of the average Mexican house and is therefore hardly inconspicuous when he's on the trail has to be forgiven. That and the deviation into the demise of the cop who's trying to save him. And the dodgy theme song at the beginning, which makes you think you're entering a very soppy 70s film instead of the hard-edged exploration of alienation and the catharsis of violence.


Thursday 8 August 2013

Men Into Space - With Lucky Strike


1959. Smoking in space, yes, in the Future of the Past everyone did it - astronauts and scientists fuelled by nicotine. A man's horizons may change overnight. His tastes don't. But they did.


Yves De Mey - Metrics (Opal Tapes)


Right up my alley - an alley where predatory cyberghosts inflict the vestibular disorder known as neurotechnoid reconfigurement  upon unsuspecting victims who believe their shadow presence to be mere hallucinatory effects created by the night & urban paranoia but soon find themselves seduced & succumbing to stealth impregnation of bass waves designed to spread sound contagion via the ear which spreads rapidly until the whole body sings an electric anthem causing their eyes to be spliced by visions of both ancient & futuristic utopian & dystopian worlds in which they dance like somnambulistic mechanical marionettes.

Monday 5 August 2013

The Artist's Car


This artist from the Past Future could never have imagined that one day a car would be called Picasso, could he? Hilarious, though whenever I see one I can't help but feel that Pablo's name has been diminished somewhat. Does that make me a sensitive Artist who is precious about Art, believing it above appropriation in the name of car manufacturing? No. In the picture, the struggling artist must make ends meet respraying cars with the aid of that fantastic gizmo throwing bolts of colour - amazing!



Meanwhile, from 1954, roughly the same time as the car respray Artist was created, we have another Art/Automobile combination. All Artists had beards then, of course, but I swear that's the same one, test driving the Artist's car. It's a rather clunky attempt at space-age design with a hint of Soviet constructivism about it, isn't it? No matter, it has a carpeted floor instead of a seat and for that it deserves to go into production. Note that it only holds one person...the Artist is destined to be a loner, even in his car...


So why not end this cArtist (ha-ha) special with a great Blue Note album cover by the label's very own artist, Reid Miles, from 1966.  And a fine track from the album because all Artist's dig Jazz. I mean, used to dig Jazz.



Thursday 1 August 2013

Various Artists - No End of Vinyl (Cronica)




Vinyl's had countless funeral's since the arse-end of the last century...cue silence as the needle of fate (!) glides over the run out groove before the arm finally comes to rest in peace...

But wait, a revival?! Yes, you've all heard talk of it, probably since this new century began. Everyone will be a star for fifteen minutes and everything shall be revived - Goth (what do you mean 'It's not dead!'?), Mod, cup cakes, fanzines, Arsenal winning trophies (ha-ha!) etc.

Vinyl's never died for me, but it's come close a few times since I packed up DJing. Now I just buy odd things that appeal, usually because of the cover and cover price. Whilst kids (and almost everyone else who's into music) frenzy-feed on MP3 files, men of a certain age (approaching Middle?) lash out on lavish limited vinyl editions. It's akin to baby boomers buying motorbikes, but a bit cheaper, only a bit. You have to be financially buoyant to buy new vinyl, but it recaptures that old feeling that the medium carries a very special message, presumably. Numero Group wrote an article about the phenomenon for The Wire in June.

Cronica's compilation of tracks inspired by Pure's 1999 album, The.End.Of.Vinyl (free download) is worth a listen. JSX's Biological Agents of Vinyl Degradation gets my vote for the title alone, although it's a worthwhile sonic slap 'round the ears. @c's zweiundneunzig (für Pure) is another highlight, acousmatic for the people - well, people like me who are fond of some sensory rearrangement. Rashad Becker's Take Me To Your Lead Out is another superb traditional song for a notional species.

Generally, a solid set of post-Glitch-drone-beat (ha-ha) for you modern swingers.

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