Month: August 2013 (Page 2 of 2)

Original

Motionless In White – “Abigail” Official Music Video

 

Lyrics

Burn baby burn
She’s a witch, she’s a witch and I’m a heretic
So, learn baby learn
She’s a witch, she’s a witch and I’m a heretic so, learn

Oh Abigail how could you do this to us?
You were a product of lust (Product of lust)
And now this rope on my neck stopped all the blood to my head
So, now Salem please save me (Salem please save me)

Wish upon the stars, but they won’t save you tonight
God has forsaken thee to hell, we’re going to hang from the sky
Feel the weight of the stones crush hard on your chest
Confess, confess before you run short of breath
Confess, confess here for your sins

Burn baby burn
She’s a witch, she’s a witch and I’m a heretic so, learn
Oh Abigail how could you do this to us?

Oh Abigail how could you do this to us?
You were a product of lust (Product of lust)
And now this rope on my neck stopped all the blood to my head
So, now Salem please save me (Salem please save me)

“It’s not on a ship we’ll meet again Abigail
But, in hell… I say God is dead”
I’ll see you when we both meet in hell

How could you?
When we both meet in hell

 

Metalcore

‘Metalcore is a fusion genre blending extreme metal and hardcore punk. The name is a portmanteau of the names of the two genres, which is known as metallic hardcore distinguished by its emphasis on breakdowns, which are slow, intense passages that are used for moshing. The vocalizing technique in metalcore is generally shouted or growled vocals, particularly common among many 1990s metalcore groups. Today many metalcore bands combine growled vocals and screams with some shouting occasional in the backing vocals. However, some metalcore bands, like Killswitch Engage and Motionless In White, have also done clean singing. But there are also modern bands who only growl or shout, such as Parkway Drive.

‘Heavy guitar riffs, double-bass drumming, blast beat drumming, and breakdowns are used a lot in metalcore. Drop guitar tunings are used almost universally, earlier bands usually used either Drop D, C# or C tunings. More recently certain bands have been known to tune as low as Drop G1 and even F#1. Drummers typically use a lot of double bass technique and general drumming styles across the board. Bass tends to be down-tuned and low and guitar riffs tend to usually derive from punk or metal.

‘For a lot of heavy music listeners, the genre label “metalcore” has become almost a dirty word. The genre quickly rose in popularity over the past 10 years or so and stole the torch from punk rock as the preferred underground music genre among teenagers and 20-somethings. With a steady rise in popularity also came an explosion of new bands and a steady decline in creativity and innovation. It’s remarkable how many bands are content simply copying the flavour of the week instead of having their own musical direction. The bubble is going to burst if things don’t change.’ — collaged

 

How can I do scream vocals in my singing?

‘By “screaming” I’m assuming you mean an aggressive, unclear, somewhat raspy distorted tone in the upper or upper-medium vocal range. Asking how to scream without hurting your voice is a bit like asking how to punch yourself in the face without bruising it. Screaming is abusive to the vocal cords, plain and simple. You might ask, “Well how come (insert famous screaming singer name here) can scream and doesn’t lose his/her voice and he/she’s been doing it for years?” Good question. Here are a few of the realities that explain it.

‘The reality is that the vast majority of screamers trashed their voices a long time ago. Most of them have had multiple surgeries, and many can no longer sing at all. What their voices MIGHT be able to handle in the recording studio once a year isn’t the same as handling that kind of abuse all the time. Many of these “screamers” (the smart ones) sing with softer and clearer voices outside the studio in order to try to save their voices from permanent damage.

‘Each person’s tissue has a different reaction to abuse. For instance, you might slap one person across the cheek and 5 minutes later there isn’t even a red mark. Do the same to someone else and they’ll be bruised for a week! Allot of times the singers you hear do this don’t have tissue that irritates as easily as the average person. Also, they aren’t singing as loudly as you think. If you “pretend” to scream loud, but you are actually singing at a soft or normal volume level holding way back, then you can let the microphone (with allot of reverb behind it) make it sound like a huge screaming voice.’ — Eric Bruner Vocal Studio Blog

 

Covers

Crucify Taymour: I couldn’t scream the way Danny screams in this song. I’m sorry about that. Watch my other covers, my highs are way better than this.

Stefani Lam: so yea, finally did one of the songs by one of my favorite bands!! might be doing Immaculate Misconception soon c; keep supporting! Like my band page.

FlamicArtan: Check out my band 😀 vote for… (dont forget to request as well)

Tyler Thurston: I’ve been screaming for about a month now and am still working out some kinks. I just started doin lows seriously yesterday so thats very new to me as well, feel free to leave comments and also check out my band Tr3ason.

ChealyTheNinja: Hope you like it 🙂 I struggled with the clean vocals a lot, but I felt I should still put them in instead of just doing the screams/growls 🙂 If you enjoyed it 😀 Thank you!

EdgeOfTheEarth91: my vocal cover of Abigail by Motionless In White, ALL screams are exhaled (false chord)

Johnny Gionette: For the people who have requested this cover, here is Abigail by Motionless In White! Maybe for one of the next covers I will do just one full take and no editing to show what I can do.

KtheScreamer: The mic I’m using doesn’t really pick the highs up too well, and I’m sick, which you can hear when I talk, but I tried. 🙂

VinCasey37: [Studio Quality]

Angel Sifuentez: I’LL SEE YOU WHEN WE BOTH BURN IN HELL. Mic NOT plugged in. Exhales.

KyleCVox: She’s a witch and i almost hit a squirrel

David Sky: Fucking shit up. You know, the usual.

UrSTHEtEaM: Just a cover i hope you like it and sry for the shitty quality i recorded with my phone:/ oh and the mic is fake it’s not working xD 😀

xxabrfreakxx: Thanks guys comment and like please! sorry for the mistakes.

PvtCaboose964: Song is by Motionless in White. Enjoy ^^

Kevan Rose: me doing scream cover of Motionless in White’s, Abigail. i only do ex-hails there where no in-hails at all. enjoy.

ScreamAndRawr: I did this song in Music class once 😛

SammyVengeance92: My first vocal cover for my fav band (: There are no effects on my screams, nor my clean vocals I literally recorded it straight.

Jamesrulezd00d: MOTIONLESS IN FUCKING WHITE! Currently my favorite band. I haven’t uploaded a cover in a while, and I haven’t screamed in a while so sorry if I’m not as awesome as usual :// lmao. I went to their show last weekend and got to scream into the mic in Abigail and Immaculate Misconception. The show was fucking awesome. After The Burial, Norma Jean, For The Fallen Dreams, Stray From The Path, and Nausicaa played that show with MIW. And btw, check out Nausicaa, they’re a local band here in Gainesville, FL. They’re fucking awesome. They were sick as shit at the show.

Cody Gallo: Sorry the shitty video quality, and im not sure what youtube is going to do with the timing so im sorry in advance for that.

iPwnUrScreams: Mic is a prop..(This is done with exhales, the way I learned it is just weird)My cover of Abigail by Motionless In White. I think I did fairly well but tell me what you think.

Screamingturtlez: I first heard this song a couple of days ago and have been listening to it like 100 times alreday! a new band to love?? Anyway i’m sorry for the singing parts i know they suck so just stand with it…:c

theconspiracy124578: Vocal Cover of Abigail By Motionless In White, I own no part of this song. All credit and rights to the music go to Motionless In White and Fearless Records.

Deithis: This is me doing my first attempt of “Abigail” by Motionless in White off their newest album called Creatures. Please let me know what you think, and subscribe if you wanna hear me do every song on the album. All inhale screams.

Kyle Pennell: do whatever. :]

Josh Allen: Cheeky cover, recorded just with the microphone on my camera so the quality isn’t the best. Let me know what you think.

Chad Cavender: whats up guys im 14 follow me on twitter at chadcavender1 🙂 and if you could share this with friends and possibly Facebook it will be greatly appreciated:D or share it on MIW Facebook wall or tweet it at them\m/

DropDeadDaws: Hey guys, I really love this song! One of my favourites from Motionless In White! If you enjoyed, please like, comment, favourite or share. It really helps me grow and I appreciate your help.

josh debey: motionless in white bro 🙂

Thomas Abigail: Recorded with inbuild laptop microphone

Jarett Laudadio: Attempted this. One take. Not super happy with it. I’ll probably redo it at some point.

TwoWithinMyEyes: jizz

IcameAsRussArm: 0:07- 0:23 – Fail. I know it. Sorry Guys

Dawson Staudt: tell me below what you think and if you want to here more! C:

Lucas James: Not my best but it works :p hope you guys enjoy it

BeforeTheGate: umm not a huge fan of this band but have had several requests so i hope yall like it 😀 COMMENT!!!

Chris Wilson: This is my screaming cover of Motionless in White’s Abigail. Comment, rate, and subscribe for more videos! Message me suggestions 😉

Josh Begbie: yee

DieForMeIfIPray: So, another cover. As always only exhale

VlogThatShoot: Our cover of Abigail by Motionless in White.

Jaybo1594: I own nothing.

Ryan Lawson: Old Cover, decided to start putting some videos up on Youtube 🙂

Asken0809: First MIW cover, hope you like it 😀 (no clean vocals yet D: )

OMFGITSTYL3R: Me and Scream1095 check it out!

AlterBridge2830: I felt like I could do alot better on this than I did on my other so I did it again! I hope you enjoy, no mic this time, adn all rights go to motionless in white!

Element3141: Cover of Motionless In White’s song Abigail, this song was a little different than what I’m use to, but that’s why I did it! 🙂 Check out my band here. “Like” Our page please it would really mean a lot to me! 🙂

Chris Welker: My first time screaming after I had strained my vocal chord.

CarnifexChoseMe: Confess For Your Sins

Chris Tito: Best Cover I’ve done haha, on a rooftop swag. Subscribe if you liked! Like my band on facebook please. facebook.com/EverlastingEmpire

Bradsvocalcovers: Hello everyone this is my first YouTube video as well my first vocal cover I have done and uploaded to YouTube. If you all could please give me feedback in the comments or inbox me that would be amazing! As well If you would like to see any other videos upon this channel please let me know and I’ll try and do my best to entertain everyone as possible. I don’t know why the video went sideways sorry, I’ll look into that!:)

blacktears210: I don’t own this song hope you enjoy 🙂

David Vargas: quí les va otro cover!!! espero que los disfrute 🙂

Cian Russell: Love this song so thought i would do a cover for the laugh, I recorded it off my shitty phone camera, So sorry for the bad quality. It’s mostly all high exhales i can also do low exhales which i will do in some other video, Hopefully i will have better equipment to record, Enjoy!

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p.s. Hey. ** Rewritedept, Hi. Steve Martin has been/can be pretty great, but taking over for a super genius like Sellers is a no win. I see what you mean about the tag ‘artist’. It’s interesting that the term is more intimidating than identifying oneself as other things, I guess maybe because it’s a thorough and very committed self-definition. To say you’re an artist means it’ll always be there, and I guess if one doesn’t succeed at being an artist to the standards one applies to the notion of success and quits making art, there is a feeling that one is less an ex-artist than a failed artist? I mean it’s not like identifying yourself by the job you hold where your identity can be more fluid. Your day sounds like it was useful enough. My day was good. My great friend/collaborator Zac spent the afternoon rethinking and revising the script of the porn film we hope to make. And it was sunny and nice out. And I worked on the novel some, so it was very productive. Very glad that you’re through the withdrawal management. Stick to it, I say. Deerhunter, nice. I’ll finally be seeing them live for the first time at the end of October and hopefully finally having an in-person meet with Bradford, who used to be a d.l. of this blog way back when. ** œ, Hi. My mind tends to humidify stuff, but then my writing and voice kind of dries it out again or something. But I need things to be moist in my imagination. Maybe everyone does. Nice psychedelic Bambi butt, thanks! Really interesting thoughts on Smithson. More reasons why I need to dig back into his writings. It’s all kind of a blur. I didn’t know that he was close to WCW. That’s a curious idea. My sleep problems seem to be abating finally. They were a fluke for me, usually designated strictly for jet lag situations. Thank you so much about the chain. No rush, no, please. The thought and promise are beautiful enough. I hope you got some sleep last night! ** Lee, Hi. Twisty and devious, that’s interesting. I think I get what you’re referring to. I guess I see it or try to see it as courageous and generous in a weird way, but then I really like the eluding or fracturing, and I guess I see it less as deliberate than necessitated?  I like trying to find the source of his explosion, or making up a source or something. I don’t know. I see what you mean, though, yeah. Maybe he’s devious, I can see how that would be possible, but I don’t feel that going on, which is quite possibly my idiosyncrasies at work. I need to read Smithson again, like I said. I have this trace memory of dickishness or something resembling that, but I can’t parse it from this far away. Great, thank you for the link to the Serra/Holt film! Thanks a lot! Cool. Bon day, bud. ** Allesfliesst, Hey Kai. Yeah, on Sellers. Uh, yeah, I don’t think that condition you speak of is what I have or, yeah, I hope not. I don’t really have a fear of dying at the forefront, but then I have this intuition that I’m somehow magically immortal. Call it a hunch, ha ha. Anyway, I seem to have finally been cured of my morning malady as of two nights ago, fingers severely crossed. ‘More or less decent’ works for me. Let’s face it: If we spoke exactly, we’d put ‘more or less’ in front of every word except maybe ‘the’. ** David Ehrenstein, No progress yet with Greyson, weird. Why is this so complicated? I wonder what we don’t know. Great Sellers anecdote, thanks! ** S., I used that ‘Moon’ photo in a blog post, I can’t remember how or where. But I think I cropped out the dick ‘cos I wanted his reaction to float. Everyone, Here’s a NSFW S. thing called ‘The moon’. I prefer them unshaved. I like them to be theirs and not neutralized in order to be overly mine. Hugs back. ** Tosh Berman, That’s funny, and sorry if it’s irksome, but I did think about there being some kind of Sellers resemblance with you when I was making that post. Oh, your ‘Sparks-Tastic’ scrapbook looks very exciting to me! Cool! I will spend quality time with it once I get out of here. Thank you a lot, Tosh, and, yeah, new computer. Unfortunately that bullet must inevitably be bit. ** Steevee, Hi. I actually have been kind of surprised and shocked by the response to Manning’s gender change announcement, but I can be very idealistic. It’s weird to realize that how you and I and, I think, most everyone I know personally and respect feel about such things is as isolated as it is. I suppose it’s good in the long run that his announcement has forced people’s weird fears out into the open where the fears can at least potentially be made to seem as peculiar and unfounded as they are or something. But, yeah, really ugh on the reactions. I almost unfriended a bunch of people of Facebook yesterday, and I still might. I read your ‘Grandmaster’ review as I was coffeeing this morning. Very good, very interesting. A fine thing. Kudos. Everyone, the awesome Steevee aka noted critic Steve Erickson weighs in superbly on the new Wong Kar Wai film ‘The Grandmaster’ right here ** Gary gray, Oh, those scrapbook pages were for the failed novel I was writing about my friend George Miles. ‘Doris’ feels like a grower, yeah. The blog post was very interesting. I spent a fair amount of time peering at it and trying to decode it in the most intriguing feeling way. Have an awesome one. I had one yesterday, and I’m going to try for two. ** _Black_Acrylic, I will for sure see that film, thank you, Ben. ** Chris Dankland, Totally, about Sellers. He was all over the place and almost always genius every time. Oh, man, seriously, the interview is an honor. I’m excited. I was actually surprised by the ‘TMS’ word count. It seemed so low, but that’s probably because it was at least two times longer at one point. Take care, man! ** Misanthrope, Maybe you don’t like him because he played so many Asian characters, ha ha. Oh, re: confusion, you know me. I don’t think there’s any collective way to create order, just billions of different ways that would coexist very interestingly if given the chance. That’s actually a pretty good Beatles song. No title for the novel yet. A working title, but it’s my secret. Sweet on finishing the transcription. I hate transcribing. That’s the worst part, even worse than the writing part. Shit, your novel is huge, whoa. George and Harry sitting in a tree, … ** And so it goes. I dare anyone out there to watch/listen to all 53 metalcore vocal covers of Motionless in White’s ‘Abigail’ like I did and then report back on what that felt like. In any case, there you go, and I’ll see you tomorrow.

‘The oscillations between listening and hearing, thus, describe a movement between foreground and background, between an object of attention and its context, between one and many. Given that sound is a movement of air pressure, in a continual state of flux, listening must, in a way, negotiate the sheer intrusiveness of sound – its restless and itinerant behavior. If we were to listen fully, at all times, we would most likely find ourselves unable to do much else. In this regard, the ear is a natural filter, open at all times yet continually pushing back against sound, to defend the body against such oscillations and energies. Listening may register where we are, precisely by shifting focus, locating presence as a backdrop that comes forward at times, certainly, but which we might also force back or resist: we hear also so as not to listen. Listening, in this regard, is an act by giving attention to events and people around us, and by also spatializing ourselves, drawing us out and away from the greater field of sound.

‘We are immersed in sound, as waves and oscillations of energy that envelope us, to touch a deep nerve. Sound, therefore, carries deep emotional force, often linking us to more ephemeral, ambient and embodied experiences. The self defined by listening is prone to a particular vulnerability, where the uncontrollable force of sound may invade the body, to haunt our environment with ambiguous and uncertain stirrings. Sound is, therefore, often a ghostly matter, linking to the spirit-world, to the dead, and other seemingly inorganic stuff. Sound, in other words, proposes that what lies underneath, or still and silent, may also at times, come to life.

‘The self as membrane, where sounds and musics may pass, lends to harmonious mingling as well as forceful rupture, a tearing apart that also «pluralizes» and multiplies: noise might be the very force that ruptures all forms of representation, that splinters each space into additions, that causes every communication to fragment into an array of possible trajectories, in support of multiple narratives. Listening moves between foreground and background, focus and distraction, to link life and death, organic and inorganic, and provide a voluptuous route for the imagination as it weaves together fantasy and the real.’. — Brandon LaBelle

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Grumbling Fur ‘Under Fur Moon’
‘Daniel O’Sullivan and Alexander Tucker are long time friends and collaborators. Both artists are veterans of the UK experimental underground: O’Sullivan as a member of Guapo, Ulver, and Aethenor (with Stephen O’Malley), and Tucker with imbogodom and as an eclectic (read: Yeti) solo artist. They have craft avant-pop assembled as one would a collage. This structural foundation is built up via an eclectic array of instruments, both acoustic and modified, to pulsating electronic sounds. Add to this mix the pair’s entirely modern shamanistic meta-narratives, and the result is a contemporary psychedelic pop delight. Yes, as their history attests, this is a group unbound from the restrictions of traditionalism and unafraid to shed the pretence of pure abstraction.’ — Thrill Jockey

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Baths ‘You’re My Excuse To Travel’, live in Tokyo
‘For mercurial L.A. music-maker Will Wiesenfeld, Baths has been a long time coming. The 21-year-old has spent the better part of his days living amidst “pleasant” and “unremarkable” in the suburbs of the San Fernando Valley, so perhaps it’s due to a general lack of local inspiration that Wiesenfeld’s own work has never fit into a prefab box of its own. Over the last six years, under the handle of [Post-Foetus], Wiesenfeld has gainfully explored the intersections and outer reaches of both electronic and acoustic music. With Baths, his eclecticism finds its greatest focus yet, in a hail of lush melodies, ghostly choirs, playful instrumentation and stuttering beats.’ — anticon

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Daniel Menche ‘Marriage of Metals 1’
‘In its history throughout millennia it is fair to say the Gamelan has never had an encounter quite like this. Marriage of Metals is a devastating extension of the harmonic properties found in the instruments of Indonesia. Menche was granted access to a remarkable Gamelan studio where he was given full privilege to record any and all of these rare and ancient gongs. Most notably the gigantic “Gong Ageng” that’s contains the deepest of deep of acoustic bass. Daniel Menche took the raw source material from this Gamelan gong session and launches into a heavily processed yet surprisingly sympathetic 21st Century take on this unique instrument. Marriage of Metals comprises two side long works where the purity of the sound source exists amongst the entire din. Metallic rhythms bounce alongside synthetic pops swaying from reality to fantasy, from pure acoustic tonality to fuzzed out distorted clatter. A distant feedback squall is teased amongst the foreground creating a clamorous din.’ — Editions Mego

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Teenage Guitar ‘Atlantic Cod’
‘A press release notes that despite the Teenage Guitar record being delivered under a new moniker, “this is pure high-potency solo Pollard,” and finds the Ohio rocker laying down vocals, guitars and pianos. Guided By Voices bassist Greg Demos, however, contributed drums to the set, while Joe Patterson occasionally takes up bass duties. The LP was recorded by Pollard at home on “a historic mid-’90s Tascam 488 cassette recorder,” and apparently the sessions bring to mind mid-’90s-era GBV releases like the Clown Prince of the Menthol Trailer EP. While lyrics were reportedly composed before Pollard hit the record button, “the music flowed spontaneously while the tape ran.”‘ — Exclaim

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Young Echo ‘Jupiter Rise’
‘Young Echo is a loose collective of Bristol producers that includes Vessel and Kahn, with an emphasis on the “loose” part. The group’s members have a common hunger for borderless experimentalism, but that, and their unruly radio show, is the only thing they share—though they’ve existed for years, Nexus is their first actual release as Young Echo. Considering their individual personalities, from Kahn’s fundamentalist dubstep to Zhou’s meditative drones, it’s hard to picture how they could all come together for a full-length. As its name implies, Nexus is where the group meets, but it’s not a simple convergence. Instead, it’s the uneasy centre of their already porous identities and projects, and ends up every bit the glorious mess it should be.’ — Resident Advisor

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Paul Metzger ‘Of the Passing’
‘The idea to have 23 strings on a banjo was not a single “light bulb moment.” Some banjos have a fifth string, a higher string on the top end of it. Instead of just having a single accent string there, I added initially just one, another one and then a third one, just to see what would come of those sounds. Things that would become available to me by having some extra strings to use as an accent would then further inspire me to add something else to the instrument, or then play it in a different way than is expected. When I first heard the instrument and was interested in music, as far as a banjo goes, I liked the sound of the instrument more than the type of music that was being played on it. So I was listening to instruments from India and Iran and Afghanistan that have certain sounds that are really quite similar to what you get out of a banjo or a guitar, if it’s played a certain way.’ — Paul Metzger

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Kaffe Matthews ‘Mount Magnet’
‘Kaffe Matthews has been making and performing new electro-acoustic music since 1990. She is acknowledged as a leading figure and pioneer in the field of electronic improvisation and live composition making on average 50 performances a year worldwide. Kaffe has become known for making site-specific sound works live, playing in the dark in the middle of the space, the audience surrounding her, the sounds moving around them. She uses self-designed software matrices through which she pulls, pushes and reprocesses sounds live, using microphones, a theremin, and feedback within the space; the site then becoming her instrument.’ — The Jogwheel

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Julia Holter ‘World’
‘Classical and not-so-classical-at-all: Julia Holter’s music lies at a crossroads similar to the one where artists like Arthur Russell or Laurie Anderson reside. It’s the sound of an artist who has clearly been trained—in this case at Cal Arts with Michael Pisaro and in India singing with harmonium under guru Pashupati nath Mishra—and one that has no problem forgetting everything previously learned, if needed. Holter’s songwriting stems from a mythological reverence of that which is incomprehensibly beautiful.’ — Red Bull Music Academy

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Innode ‘Gridshifter 05’
‘Innode enters the world with an audacious debut of rhythm and sound, space and silence and an astonishing blend of the acoustic and the electronic. Spearheaded by Stefan Németh (co-founder of Radian, Lokai) in close collaboration with Steven Hess (Locrian, Pan.American, Cleared) and Bernhard Breuer (Elektro Guzzi, Tumido), Gridshifter is an intense, astonishing sonic experience which navigates the line between formal structures and experimental interplay. Conceived as a series of crossbred experiments where, on one side, a human rhythm triggers electronic signals whilst on the other electronic textures sculpt a platform for physical human engagement. The stark dynamics and Human/Non Human interaction manifests itself as a thrilling expose of 21st Century rhythm and noise.’ — Editions Mego

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Vår ‘The World Fell’
‘Vår is the project of four best friends from Copenhagen. Each member of the band is involved in several other Danish bands and all four members are also accomplished visual artists. What began as the extremely lo-fi two-piece of Elias Rønnenfelt and Loke Rahbek recording on 4-track has evolved into an experimental noise/industrial/techno pop quartet. Exploring themes of love, loss, vanity, hope, fear, sexuality and friendship and drawing more on literary influences than musical ones (Bataille and Shaffer, specifically), the band craft music which cannot be confined by any singular sub-genre. Words like “industrial” and “electronic” fall short here; they barely begin to scratch the surface of this work. This is soundtrack music for a play that has only begun to be imagined and is light years away from being consummated.’ — Sacred Bones Records

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The Durian Brothers ‘Planete Sauvage’
‘German trio The Durian Brothers are Stefan Schwander, Mark Matter and Florian Meyer. They play two pairs of Technics 1210s, prepared with elastic bands, sticky tape and Post-it notes, with Schwander on a sequencer and delay pedal, looping and layering sounds to create polyrhythmic patterns. The trio live in Brussels, Düsseldorf and Karlsruhe, and meet for a day at a time to record music. Previous to their current split release with Ekoplekz’s turntablist moniker on FatCat, they have also released a series of EPs under their own label, Diskant.’ — The Wire

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Idea Fire Company ‘live in Brooklyn’ (excerpt)
‘Idea Fire Company was formed in 1988 by Karla Borecky and Scott Foust and continues to this day, despite the odds. IFCO’s goal has always been to create experimental atmospheres to open up a more aesthetic approach to both the world and one’s own life. We strive to evoke possible alternative worlds as a direct opposition to the paucity of life under The Spectacle. IFCO has always been an open concept. As such, besides core members Karla and me, IFCO has included Matt Krefting, Graham Lambkin, Meara O’Reilly, Mike Popovich, Dr. Timothy Shortell, Jessi Swenson, and Frans de Waard, all friends, like-minded thinkers, and fine artists. IFCO’s relatively small catalog is partly due to Karla’s and my participation in other aesthetic endeavor, but it also reflects our ever increasing determination to craft each release into a diamond. And we don’t like to make the same diamond twice.’ — Scott Foust

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Midday Veil ‘Great Cold of the Night’
‘Seattle multimedia ensemble Midday Veil began in 2008 as a collaboration between vocalist and visual artist Emily Pothast and analog synth head David Golightly (whose studies in composition and electronic music included courses led by Karlheinz Stockhausen), however the broad palette of Midday Veil’s characteristic sound owes much of its shapeshifting audacity to the addition in early 2009 of Timm Mason—a multi-instrumentalist obsessed with modular synthesis, musique concrète and Middle Eastern melodies—on baritone guitar. In 2011, the band added Jayson Kochan on bass and Sam Yoder on percussion. In 2012, original drummer Chris Pollina left the band and was replaced by Garrett Moore (Brain Fruit, Particle Being Trio).’ — The Stranger

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p.s. Hey. ** Rewritedept, Hi. Acid reflux sucked, for sure. The post-AR eternal maintenance routine is easy but annoying. I miss onion rings like you can’t even believe. Uh, I did this and that this weekend. Got stuff done, which is something of note considering that these sleep problems just will not get bored with me and bugger off. Any job moves or ideas or leads or whatever? Oh, I saw your second comment. Glad that things are sorted and/or getting there. The heatwave broke, yes. It’s not chilly, by any means, but the outdoors is a lot more doable. ** David Ehrenstein, Hi. No, the Manif pour tous guys are not far-right violent thugs. They’re mainstream conservative religious young guys who know their shirtless antics will get their thing media attention and who think it’s an interesting and amusing strategy to try to turn on gay guys while simultaneously decrying them. Over here, people mostly just think they’re funny jerks. Social media users and bloggers Stateside seem to be conclusion jumping and confusing France for Russia or something. Yury thinks what’s going in Russia is horrendous, of course. Like a lot of Russians, he’s mostly cynical and resigned about how little can be done about it barring some kind of revolution. Yeah, I read that about Ben Wishaw. ** Mark Gluth, Hi, Mark! Thanks, man, re: the sleep thing. It’s totally weird. Never had this happen before where I can fall asleep with no problem but then wake up for good no matter what I do at about 4:30 am every day. I’m just waiting for my body clock’s current pattern to erode or give out. Not much else I can think of to do. I would completely love a goofy blog post from you, if you don’t mind. First, your sensibility is always god, and, second, these sleep issues are not so conducive to making blog posts, and I’m way behind again. Did you see Frozen Cloak, lucky you? Really great to see you, my pal. ** Steevee, Hi. Like I said to David, the US gay blogs and Facebook people can’t seem to distinguish the Russian situation from the situation here or something. Yeah, in a nutshell, that’s the basic idea: ‘akin to young, attractive women going topless to protest porn.’ It’s not exactly like that, but it’s near enough the comparison is useful when interpreting them. Never heard of Dreamwater, hm. Like I said, though, I can fall asleep just fine, it’s the fascistic body alarm clock thing that’s the problem, and I don’t know what can be added to me to fix that, and I don’t want to take sleeping pills in the mornings, if I can help it. Thank you a lot for the tip, though. I will look into Dreamwater, just in case. ** MANCY, Yeah, it’s so easy to take the ability to sleep for granted. Ouch, man, on the tooth thing. I broke two teeth while eating nothing especially challenging — tortilla chips in one case — a couple of years ago. Weird, no? I hope your gig last night went splendidly. ** Misanthrope, There’s just been a Dewaere bio published over here, and I would imagine it presents some kind of theory, solid or not, about why he killed himself, but I haven’t read it. I think every suicide is eternally inexplicable whether one leaves a note or has some contemporaneous real world problem or not. Okay, understood about story not-vs. novel. That’s curious because I can’t think of a single smoker friend of mine who happens to Black, past or present, who smoked/smokes menthol cigarettes. I wonder what it means. ** _Black_Acrylic, Hi, Ben. He’s a really good actor, if you ever get the chance to see pretty much any movie he’s in. Cool about the completion of profiling. Ooh, form decision time. I love that. Yeah, obviously, hook us up when the results are are visible. ** Statictick, Hi, N. Thanks about the post. Thank you eternally for being you in all your myriad ways, man. That’s sweet about your mom. Give her the best of all possible bests from me. Someone told me something vague about your ‘in jail’ thing. I didn’t fully understand, but, Jesus, man. I hope the outcome of that is as close to circumstantial perfection as possible. Love to you too, bud. ** œ, Hi. I’m glad you like conversation with me. The feeling is mutual. I only don’t wear bracelets because I don’t have bracelets to wear, I think. I don’t know. I’m so sorry about your health failings. I mean, how so, if you want to say? Oh, a post on ‘Snapshots’ would be great! I love that book, and it’s among the least noted and discussed of R-G’s books, I think. From what I see. I’m so pleased to hear that you’re enjoying working. That state is one of emotion’s greatest rulers. You have a great week too! ** Okay. Gig posts featuring music that I’m newly listening to, liking, and recommending tend to be the most skipped over posts among the constituency around here, but, hey, I seem to like making them, and this one is out of my hands, and the power is now in yours, and the rest is mystery. See you tomorrow.