Month: May 2014

_______________
BuzztheFuzzify School
‘I love the sound of roundwounds clacking violently against the frets! FUCKING RAGE!!! Best part of playin music!’

______________
Weatherwax Aneurysm
‘Weatherwax put heart and soul into every performance, at Witney’s Fat Lil’s along with music festivals and charity gigs across Oxfordshire and beyond. The band’s YouTube channel – Nirvanakiduk – has had nearly half a million views. Channel 4’s Alex Zane said: “Rock has a future, my friends, and they are called Weatherwax!”’

__________________
Jay Houck Territorial Pissing
‘Kurt Cobain was the John Lennon of the 90’s.’

__________________
Ukrainian Nirvana Smells Like Teen Spirit
‘Ukrainian 19 year-old guitarist Roman Bulakhov’s progressive rock/fusion Nirvana tribute band.’

_____________
Weird Suckers Breed
‘Un cover de la canción Breed de Nirvana por Weird Suckers.’

_________________
Dee Dee Ramone Negative Creep
‘Dee Dee Ramone, a former member of the well-known punk group The Ramones, covered the song “Negative Creep” on the 2001 Nirvana tribute Smells Like Bleach: A Punk Tribute to Nirvana.’

__________________
Nonsense Something in the Way
‘Something in the Way (In Version) by Nonsense. A cover of Nirvana’s Something in the Way. Nonsense is Shaun Kelly and Devin Edward. We are not the Nirvana tribute band Nonsense, we just have the same name. kind of a weird coincidence, as i only found out about them from uploading this video.’

_______________
Little Jimi Hendrix Polly
‘All u gotta do now is let him use his fingers on the frets and let his imagination go wild.’

________________
We Made God Something in the Way
‘In february we had a rehearsal at a mexican restaurant. We decided to play around a bit and here is a song you might recognise. First take, not played it in a few years..’

______________
fishenelmar On a Plain
‘This song, All Apologies and some others are tuned a half step down with drop D… also called drop C#. Try playing your guitar along in E flat and you’ll hear a disonance, then tune it half step down and the disonance will be gone. Or maybe you won’t be able to tell the difference, in that case go ask a more experimented musician to help you understand the difference.’

_______
CN13 Polly
‘NirvanaのPollyを耳コピ自己アレンジしてみました。’

________________
Антон Плоходько Smells Like Teen Spirit
‘Записывал с 1 раза. Гитара Schecter C-1 SGR, комбоусилитель Marshall Mg 50 CFX.’

__________
Heaven Drain You
‘Scentless_Apprentice: You guys live in Germany? Mike Griffioen: No man Netherlands ;) Representation: He even has a Jagstang! TheX-RatedKiwi: fuck yeah this guy has it. Mike Griffioen: haha thank you ;) Berke Tufan: I wish you a better crowd to play, you deserve it. Angover102: why so fast? are you late for something? Noah Hendley: Wow amazing!!! Angela Garcia: ovaries explode. PunkFuckinRock: the cover of break on through sucked but damn… the vocalist really sounded like kurt and the whole cover was really amazing. well done guys. גרמן סיניצין‎: Presenting you, The Kurt Cobains! Tyrone Gotswagg: HEELLL YEAH. TheShittyGuitar: Nothing like Nirvana covers and bouncy castles! Kelsey Epic: i think i love you’

_________________
Mathieu Come As You Are
‘Mathieu plays a drum cover of Nirvana, Come as you are. Mathieu 9 years old (03/2011), Music by Nirvana Copyright EMI Publishing, on Roland TD12KX with snare PD125XS.’

_________________
Real Nirvana Heart Shaped Box
‘We are Real Nirvana…. a nirvana tribute band from the west midlands.’

_____________
minamiryusuke Blew
‘miyavi cover of nirvana by me. C# tuning. i don’t remeber this video have 4 years. sorry =Xx. i don’t have a tab sorry.’

___________________
The Toxic Muffin Smells Like Teen Spirit
‘Brooklyn kid rock band “THE TOXIC MUFFIN” performs during an outdoor Father’s Day Event in front of some of the proudest parents in Brooklyn.’

_________________
Exothermic Weirdo Rape Me
‘we are a grunge band from Florida called “Exothermic Weird” (originally called “Head in Hands” but didnt dig the name too much). Ryan-Rhythm guitar and Lead Vocals. Dylan-Lead guitar. Tristan-Bass.’

___________
Strayed Old Age
‘Hey all.. This is… uhm… yeah… Me and my bass player Lee decided (randomly) to try and cover Old Age by Nirvana with… limited success… Anyways, this is completely unedited footage wise and completely live… apologies for the weird aspect ratio… I sincerely hope you enjoyed. :)’

____________
Aftershock Breed
‘Kid rock band ages 11 to 13 at Suzy’s in Hermosa Beach on March 18, 2012. Jane on vocals, Evan on guitar, Sage on guitar, Ben on bass, and Justin on drums.’

_________________
Ambrož Pušnik You Know You’re Right
‘Še en cover… Tudi bobne sem sam posnel in kasneje dodal zvok. Na kakšen mestu bodo mogoče zveneli čudno, ker sem malček zajebal ritem kitare, ki sem jo posnel najprej in sem zato moral bobne prilagoditi kitari. Ampak nima veze…’

________________
CoraYako Heart Shaped Box
‘Un cover de Nirvana. Disfruten, comenten y critiquen.’

__________
Pangea In Bloom
‘Pangea- getting all KURT on a packed Halloween crowd!!!’

________________
Austin Malone Messin around on guitar
‘Song I wrote & mixed in “about a girl” by nirvana.’

________________
The Tomato Paste Brigade Polly
‘Dylan Berg and Evan Thomas bring the house down with their cover of Polly by Nirvana. Pardon the first 2-3min of gibberish.’

*

p.s. Hey. So, here’s the last nudge from me to those of you who are doing the Escort Self-Portrait Day thing. Please send me your entries by tomorrow morning in your time zone. Meaning, I guess, before noon tomorrow wherever you are. Thanks a lot! ** Bill, Hi, Bill. Thanks, and I hope Francis is glad and is okay with my humble attempt. I sent you an inspiring escort?  Cool. Thank the wheel of chance operations. The Henke piece sounds super interesting in your description. He’ll be at IRCAM? I’ll definitely try to see that. I think the 11th is a non-filming day, so I think I probably can. I have seen/heart Tarik Barri’s work, or a little of it, and quite probably thanks to that sampler of yours. You’re back in Berlin. Are you getting all this rain, rain, rain we’re getting? ** David Ehrenstein, Hi. That’s an interestingly wending connection: head hair fetish to Ezra Miller. And why not? ** Jeffrey Coleman, Hi, Jeff! I have, I think, three locks of hair stored away in my LA pad. All from people I knew and wanted that particular souvenir from for reasons I don’t remember but were probably love-based or for amorous reasons. I am looking into CJ Bradbury Robinson. I was hoping for some extensive online excerpting or something, but it seems I might have to spring for the CD-rom eventually. I do know about Cabell McLean. He was a friend of a friend of mine who talked about him with great frequency. Have I read his writing? Hm, I’m not sure if I have. Maybe a sample or two. I will definitely pick up that book of his, that’s for sure. Thank you so much, Jeff! Rob Hardin, wow. He’s a Facebook friend so I see his occasional updates. You probably know he was a student of mine way back in the 80s when I briefly taught a writing workshop at St. Marks Poetry Project. I haven’t seen new writing by him in ages. New stuff by him would be a boon. ** Douglas Payne, Hi, Douglas, welcome, and thank you a lot for commenting. Yeah, I have some hair of an ex- or two, or of a hoped for pre-ex- maybe, I can’t remember. A well known and great experimental writer whom I know and who shall remain nameless just in case used to collect pubic hairs he found in public restrooms for a long time. I don’t know if he still does, but he had a sizable collection. He had this intricate, fascinating criteria for why certain pubes made the grade or not that I don’t remember. Cool, thanks, and do return whenever the mood strikes, please. ** Tosh Berman, Hi, Tosh. I remember when I was first going silver. And them it seemed like, boom, overnight or something, I was totally silver. How strange that is: the life-span of the hair root. Yeah, I mean is there anyone in the world who thinks McCartney or Jagger would have completely brown hair in their … what, 70s? I know it happens on rare occasions, but … Not to mention that the color of their is far more more reminiscent of the color of Nutella than of any brown hair realistically produced by the human head. ** Kier, Thanks, buddy! Ha ha, that is too bad. I mean that you can’t give those teeth to Satan. Teeth are like Satan doggie treats or something, I think I heard. You are so correct that it’s high, high time for you to have a website and for us to have a website filled with you and yours. That’s exciting! Link us up the very second it’s ready. Well, as close to the very second as your schedule allows, I mean. I haven’t seen ‘Only God Forgives’ yet. I do want to. My day was … uh, coffee with a friend, a lot of negotiating about film locations, none of them leading to success yet. Writing. Emails. Texting, phoning. Rain, lots of it. Oh, I went to get a chocolate or candy as a gift for someone from this legendary, really great Paris chocolatier called A l’Etoile d’Or run by this really eccentric older woman with long blonde pigtails and crazy energy, and when I got there, there was a sign saying she died and the place was boarded up. That was really sad. It was a great shop, and she was a total trip. I ended up going later on to another chocolatier and buying the same someone this cool confection that is a little box of chocolates designed and sculpted to look like a make-up kit with an edible, chocolate brush and everything. So those were the only colorful things I did. How was Wednesday? What was the highlight? ** Torn porter, Hi, T. Thanks, man. Yeah, the hair collecting thing is weird, right? Cool, I will be curious to hear your ‘Situation Rooms’ take. Oh, when you first go into the area where you will embark on the journey, you need to tell them that you want the English language version — if you do want it, I mean — because the whole game of the piece happens on an iPad that you carry around with you, and you’ll need to clearly understand what it tells you to do. For the first scene, we need a particular kind of apartment. Zac knows what kind of apartment he needs precisely. I haven’t seen the Bill Viola show because I really don’t like his work, but I’ll probably go at some point if I have nothing else to do just out of vague curiosity. The Self-Portrait thing involves people who read or comment here and who volunteered to create a fictional escort ad using a photo of a real escort that I sent to them. And, yeah, I think it’s too late to start now, sadly, ‘cos it’s due tomorrow morning and also because I ran out of escort photos. No big, though. Maybe I’ll do a slave one if the escort one turns out okay. Peace out, T. ** Aaron Mirkin, Hi, Aaron. Wow, what an incredibly interesting sounding documentary. You still happy with it? Is it seeable by the likes of me? I still haven’t watched that mash-up. I just drilled a mental note to do that today into my own head. Your work and Swans seems like the veritable match made in heaven. I did get some free time, thank you. An hour here and there. Thanks for the wish to help us. Yeah, you know more fully well than us by a long shot what a complicated thing filmmaking is, but we’re getting closer to being ready, and hopefully the last few outstanding confusions will demystify and get practical and accomplished in the next few days. So kind of you to offer to help. If there’s anything, I’ll let you know, and, yeah, thank you very much. What are you working on right now? ** Keaton, Hi, K. I think there is voice activated internet, isn’t there? Hm, maybe not. Weird. Yury might be able to hook you up with hair-styling if that desire sticks, but I think you have to go to school first and get a degree or something. Cotton candy blue hair-color is definitely a Pavlov’s dog kind of thing. Got your escort thing, thanks, pal. Did you write? ** Steevee, Hey. Well, nothing ever breaks down into clear categories, that’s for sure. A lot of people objectifying him as a sex object are also not in their teens. I had a brief intensive interest in the backlash and did some studying of it, and the number of people out there who went nuts with hatred for him who declared that he should be raped as punishment was quite high, possibly even more than 50%. The people in their teens who are objectifying him are just more open about it, and their objectifications tend to be a lot less sadistic, from what I’ve seen. I think you’re right, obviously, that his privileged position is irksome and fuel to people too. But, again, that’s not really about him personally. And the ‘deport him’ thing is just nationalist and ugly. Oh, yeah, the lawsuit brought by DSK, as he’s known over here, is big French news. French laws are much more rigid about what constitutes character defamation than American laws are. I don’t know where the suit will play out, but if it’s in France, he could win that one. ** Rewritedept, Hi. 50’s country stuff is pretty good, or can be, yeah. I think the great majority of the great girl group stuff happened in the early to mid-60s. I think they should add a definition to the word ‘reportedly’ in the next edition of the dictionary or whatever to the effect that it’s a word that should produce great skepticism. No, still no location yet. Now they’re saying hopefully by Friday. It had better be by Friday, that’s for sure. ** Misanthrope, Um, well, err, good for you re: how to employ Styles’ hair snippet in a practical way, although shoving hair up your butt sounds, I don’t know, less orgasmically helpful than mildly irritating, but what do I know? The Elvis and Biebz locks look like pubes? Uh, sure, buddy, whatever you say, ha ha. ** Robert-nyc, Hi, Robert! Me too. I had that reaction about a number of the locks. Like … Walt Whitman was a platinum blond?! I know what you mean. In some cases, and … let’s take James Dean as a random example, I mean … did someone snip that off his dead head or raid his barber’s floor? The sellers never seem to say how they got them. I would think that would be, I don’t know, an important issue? So glad you said ‘hello, how are you’? What’s going on? ** Sypha, Hi. I think maybe in the history of your and George’s imaginations, but, otherwise, I would think the day that Biebz isn’t referenced in some way on or inside this blog would be the historically important one. Ha ha, okay, that hair flip thing was pretty nice, okay, thank you. I think people are cool with plot holes when they’re inadvertently funny. Or when they’re in Japanese films and can be seen as having been based on ‘foreign’ mistakes or strategies a la the old ‘Godzilla’ movies. I haven’t seen the new ‘Godzilla’ yet, but, I mean, the humans don’t have to be boring in action movies. Boring human characters is not why those films work. And when there’s 160 million dollars available to get an interesting script and nuanced performances, I can see why boring characters would just be boring and why people might complain. But I haven’t the movie yet. ** Done. Let’s see … oh, 24 Nirvana covers. Some of them are kind of really great, albeit not for the reasons intended in certain cases, and having nothing to do with the value of the songs themselves, in many cases. And some of them make the songs shine. And some of the interpretations are awesome, and some of them are weird, and some of them are bad in a very interesting way, and so on. That’s my opinion. What’s yours? All hail Weatherwax, and I’ll see you tomorrow.

_________________
The Body Hail To Thee, Everlasting Pain
‘Perhaps extreme music is the ideal method for sublimating an unfulfilled death drive: a fantasy of death’s fascinating potentiality that mediates our access to the truth of its nothingness, accreting in the process all the symbolism that attends our visions of mortality. It’s dark, fearful, rent by screams, discordant guitar, and pounding drums. More importantly, it lasts. Unlike death, which occurs in an instant, music unfolds through time, expanding this phantasmic death into an album-length experience, a succession of death moments, or better yet, a succession of moments that teach us to crave death. The Body’s music, here compounded by The Haxan Cloak’s Bobby Krlic, exemplifies this dual process of the suicide fantasy, evoking both the surrounding “craziness” and the terrifying march toward self-slaughter.’ — Tiny Mix Tapes

___________
Amen Dunes w/ Elias Bender Ronnenfelt Green Eyes
‘Over the past few years Damon McMahon’s Amen Dunes project has been serving up loose and crackly, almost improvised psych-raga jams, but where McMahon’s pumped out “largely improvisational first-take affairs, recorded in a matter of weeks at most” in the past, he says his new album Love took him close to a year-and-a-half to put together. Everything’s rubber-banded up tight by the background violin. The whole deal softly, softly chugs along partly because of that little drum beat, the one that practically lopes while it loops. It’s all quarter note snare, kick on the “ands” of three and four. One slightly more relevant things you also oughta know is that Iceage’s Elias Bender Rønnenfelt is featured on the track “Green Eyes”, and, woah buddy, he even gets his duet on with McMahon.’ — Tiny Mix Tapes

_________________
Wanda Group Masculinity is a Wonderful Thing
‘Louis Johnstone’s Wanda Group project has been making a growing name for itself across the course of this year. With a quick-fire succession of cryptically titled records, accompanied with greyscale collage artwork built from images of fragmented rock, he’s established a particular aesthetic that’s both unique and tough to pin down. Certain elements coincide with the styles and ideals of musique concrete, or artists like Joseph Hammer, Atrax Morgue and the school of industrial/ experimental/ minimal cassettes that cropped up in the late 80s and early 90s. But throwing names to see what sticks seems a little at odds with the nourishing aspect at the heart of Wanda Group, a certain verisimilitude that sidesteps overt abstraction towards something more beautiful. His tracks are complex, intimate structures: webs of samples stripped of their original setting, closely examined, then messily smeared and reapplied into radically new shapes. The overall approach and final appearance is closer to papier-mache than any traditional style of production.’ — The Quietus

________________
Max Richter Untitled Figures
‘Max Richter’s debut album Memoryhouse was originally recorded with the BBC Philharmonic Orchestra in 2002 for the BBC’s Late Junction classical music label. A masterpiece in neoclassical composition, the album has languished in out-of-print obscurity since the dissolution of Late Junction as a label. Indeed, inquisitive listeners might now know Richter better for his earlier collaborations with electronic pioneers The Future Sound of London and Roni Size, as well as his elegiac score to Ari Folman’s 2008 animated documentary Waltz with Bashir. But Fat Cat Records has plucked Memoryhouse from the doldrums to introduce a new audience to Richter’s first major solo work, and give old fans an excuse to fall under its spell all over again. And what an intoxicating spell it is. A 65-minute journey through the beauty and tragedy of 20th century Europe, Memoryhouse is like an immaculately observed postcard journal, albeit one informed more by imagination than documentary accuracy.’ — BBC

___________
Heterotic Rain
‘Throughout his 20-year career, Mike Paradinas has peppered his fruitful career (as μ-Ziq) with a handful of collaborations that have seen the Wimbledon producer work with heady artists like Marco Jerrentrup, Speedy J and Aphex Twin. With Heterotic, Paradinas has found a musical project that seems, sonically and personally, close to his heart. Recording with his wife, Lara Rix-Martin, the music of Heterotic is a tempered blend of spacey synthesizers, analog drum machine beats and mournful vocals, courtesy of French artist Vezelay, giving each track a haunted, uneasy feeling.’ — exclaim

______________
Energy Gown Freedose
‘It was a bit prophetic that I was reading Ginsberg prior to my interview with local experimental quartet Energy Gown, whose philosophy of embracing the now and delving into the darker echelons of the human psyche recalls the inquisitive creativity of the 1950s and 60s. Energy Gown’s quest though isn’t to bring back the flower children of bygone eras but instead probe the codes and structures that make up the human body and creative impulses of their music and audience. Although only formed less than a year ago, the group has already self-released two tapes, performed at Chicago’s strongly curated Psych Fest and are releasing their first EP I Watch The Sun on March 23. Clearly the now is truly now.’ — IMPOSE

______________
Nochexxx Aquaverse
‘Marshaling his battered MPC, teasing out warped grooves and punching in staggered beats that sit somewhere between vintage electro and techno – though often spiked through with pleasingly crunchy b-boy signifiers – Nochexxx tunes are idiosyncratic and heat-warped expressions of a sinister twitchy velocity. Indeed, it’s this very tension that gives Nochexxx tracks such personality; raw music that works the floor but exists on a rather different mental plane, with an oil haze cinematic undertone that’s often accentuated in his performances with distinct yellow and black visual accompaniment from Plastic Horse. This month sees the release of the Cambridge-based musician’s debut album Thrusters on Ramp Recordings. Featuring 11 tracks that solidify his vision of skewed homespun electronics, this is music in constant forward motion – a hallucinatory journey to the centre of the cactus, and an instantly recognisable audio world.’ — The Quietus

___________________
Whirling Hall Of Knives Volaré Symptomatic
‘A collaboration between Magnetize and The Last Sound, Whirling Hall Of Knives’ harsh smouldering circuits and eruptions of panicky white noise have a profoundly unsettling quality, a sense of gnawing paranoia but interspersed with moments of almost euphoric epiphany, as if in the grip of an unshakeable 4am psychosis a growing sense that the door will be kicked in at any second and the world outside will come pouring in. Psyche electronics of a particularly greasy and grime-flecked hue. A feast of swirling hypno-psych, blown out and buried in sheets of corrosive feedback with all manner of buzzing and swirling guitars blending into a pulsing, throbbing, hypnotic and mesmerizing noise-scape underpinned by a seriously wild and propulsive groove.’ — collaged

_________
EMA Satellites
‘Production-wise, EMA has said she wanted her new album The Future’s Void to sound like Nine Inch Nails demos and – fair enough – this is what we hoped How to Destroy Angels would be, or what Zola Jesus might do next. That said, EMA draws on sci-fi visions of dystopia (hence names like ‘Neuromancer’, ‘Cthulhu’) rather than targeting Christianity, for a more astute criticism of the late-capitalist era. The raw, chaotic, noise-collages of her former band, Gowns, seem a long way away – but these elements are suspended to make humanity seem all the more precious. The music operates less as an end in itself and more as a counterpoint to the keening, whispering, screeching, gasping voice-as-expression-of-humanity: within the silicon maze, she suggests, there’s a ghost trying to get out. A crucial part of the EMA formula is the lullaby, nursery rhyme, or folksong updated. Her songs look back to that first moment in childhood when we realize we can be creative – that music can be democratic – and they look forward to a moment in our collective history when all the icons that have so much power over us in 2014 are just material for children’s songs.’ — Drowned in Sound

________________
Pyrrhon The Architect Confesses
‘Pyrrhon’s oft-suffocating, teetering-towards-self-destruction din works because they are one confident, brash group of dudes. Guitarist Dylan DiLella deftly crosses brutality with riffs that can only be described as “zippery” and “alarm-esque.” Drummer Alex Cohen’s natural prog tendencies feed off of the chances to explode with some relentless blasting. Bassist Erik Malave moves in and out of the main motifs while showing no hesitance in going as bonkers as his bandmates. (Plus, that thick bass tone may be the greatest benefit of a fine Ryan Jones production and Colin Marston mastering.) Moore uses a variety of effects to enhance his many voices – a full range of maniacal growling, screaming, yelling, ranting, and preaching – while delivering an album’s worth of nuanced, intelligent lyrics.’ — Last Rites

__________________
Marching Church We Lose Them Through Our Hands
‘Elias Bender Rønnenfelt is probably best known for being the vocalist and guitarist of the excellent Danish post-punk band, Iceage, and probably second-best known for being the frontman for Vår (née War), the spooky electro Iceage side project. Now Rønnenfelt is releasing new music from his other musical outlet, Marching Church. The band’s new release, “Throughout The Borders,” is spooky minimal goth a la Death In June. For Marching Church, Rønnenfelt exercises a cold, dark, and dry sound, in debt to both early post-punk and dark-folk.’ — collaged

_________________
Gezan 『癲癇する大脳たち』PV
‘Gezan is a crazed Tokyo outfit that reconfigures the stylings of Anglo-American rock subgenres into their own delirious negation. The four-piece have been cultivating a homebound notoriety for a bonkers live set since their inception in 2009, garnering plaudits from some of the acts (Melt-Banana, Ruins, Acid Mothers Temple) whose faithful desecration of rock trademarks they’ve taken it upon themselves to extend into the second decade of the 21st century. More importantly, their accolades are fully justified by the pulverizing, anything-goes caprice of It Was Said to Be A Song, a debut LP that found a domestic release in 2012 and that begins its flight into barely contained insanity with the Babel of “Full Claw Lunar Surface.” Here, scathing guitar fireworks are pockmarked by non-sequiturs into feral tape manipulation and industrial rap, the high-pitched braying and fluid pendulations from 7/8 into 8/8 exuding a volatility that’s mouth-watering precisely to the extent that, like with so many great Japanese bands, it refuses to swear wholesale fealty to externally-imposed conventions and dictates of taste.’ — Tiny Mix Tapes

____________
Brett Naucke Luau
‘If previous releases for Nihilist, Arbor and his own Catholic Tapes established Chicago’s Brett Naucke as one of the more accomplished practitioners in the American synth underground, Seed, his debut LP for Spectrum Spools, is a veritable career apex, brimming with sonic ingenuity, detail, and mastery over both instrument and musical form. It is hard to fathom due to the sheer diversity of sound and affectations of the eight individual pieces on the album, but Seed was recorded – almost impossibly – with the same synth patch, slightly modified for the unveiling of each track. This testifies to the intensity of Naucke’s macroscopic conceptual vision for Seed. Each track’s complex arc points towards a mind rooted in academic electronic processes, keenly trying to surprise and disarm by prying open new textures, rhythms and structures. But Naucke has struck a perfect balance that unites this avant-garde intuition with a compositional sophistication – bringing each unique molecule of sound into cohesive songs and further still into a supremely listenable and closed album that operates entirely on its own logic.’ — Editions Mego

__________________
Aleksi Perälä Dynamic Light Scattering
‘The music of Finnish electronic composer Aleksi Perälä’s uses Perälä and Grant Wilson-Claridge’s custom musical scale, the Colundi Sequence. Wilson-Claridge says of their invention: “Instead of dividing the keyboard into octaves with semitones, we have chosen specific frequencies to work around… The scale is 128 resonant frequencies chosen via experimentation and philosophy, each relating to a specific human bio-resonance, or psychology, traditional mysticism or belief, physics, astronomy, maths, chemistry.” “I’ve always felt somewhat frustrated or restricted with a standard keyboard,” says Perälä, “I started exploring different TET [equal temperament scales] in 2006.” Perälä’s music is both natural and electrical, with an emphasis on sine waves of different frequencies, amplitudes and phase to demonstrate Colundi Level 1 to the listener, whatever the shape of one’s ear and one’s ability to hear may be.’ — collaged

_________________
Cevdet Erek Room of Rhythms
‘Cevdet Erek’s (1974, Istanbul) work is characterised by a marked use of rhythm and site specificity. Erek combines video, sound and images, often in an attempt to alter the viewer’s perception and experience of a given space. The result functions as a hypothesis, probing the viewer’s instinctive logic and thus appealing to the senses. Interestingly, Erek manages to combine rational components such as references to architecture and linear time with instinctive impulses thereby levelling the gap between two supposedly opposing spheres. Part of an ongoing exploration, “Room of Rhythms 1″ is based on a conversation between Cevdet Erek and Duygu Demir that reflects on themes of sound, architecture, rhythm, measured time, dance music and site-specificity.’ — collaged

__________________
Puce Mary Ultimate Hypocrisy V
‘Puce Mary is the solo project of Copenhagen-based experimental musician Frederikke Hoffmeier. Closely affiliated with the punk scene that grew out of the danish capital and spawned labels like Posh Isolation and bands like Iceage, Vår and Lust for Youth, Hoffmeier has chosen a somewhat different path. As a solo project, Puce Mary is constantly evolving and never stays in the same place for very long. Where the early tapes and vinyls on danish label Posh Isolation have been minimal with a dark edge, Hoffmeier has recently showcased her diversity through live performances and collaborations. From the concrete sound-poetry of the collaboration vinyls with swedish noise champion Sewer Election to her latest livesets of rhythmic industrial and harsh power electronics, Puce Mary never ceases to push the boundaries of contemporary noise music.’ — collaged

________________
Datashock Tod in der Saarvanne
‘Datashock is a ritualistic “neo-hippie-spook-folk” collective from Saarlouis, Germany. There is no constant lineup, as the group is joined by new members every now and then. Their music is defined almost entirely by psychedelic multidimensional live-improvisations stemming from 70ies krautrock influenced by contemporary electronic music and psychotic dronescapes. As a result we find complex layers of sultry muffled vibrations met by heavy waves of electronic sound experiments and strangely disfigured images. Here and there reality-distorting bits of whispers and cut-up voices are woven into the texture of these alien patterns of sound. Every step here is like nervously stumbling through the swampy ground of a jungle. Here every look is like a secret glimpse at a hidden ghost-train world.’ — nicknicknick

*

p.s. Hey. ** Armando, Hey! Yeah, really great to see you, man! A couple of people have told me that that ‘Captain America’ movie is fun. Huh, cool. I’ll probably end up watching it on a plane because I always seem to see blockbusters on planes partly because it’s really hard to find anyone in Paris who’s into seeing them in the theater. Ha ha, wow, I love Godard. Yikes about BlB. Um, the producer of the film I’m making with Zac is the producer of almost all of BlB’s films, so I’ll stay mum on that topic, ha ha again. ‘Gone’ is a book that’s a facsimile of this scrapbook I kept in the early 80s when I was developing the George Miles Cycle. Weird that they don’t ship to Mexico. I wonder why. Maybe if you write a note to them or something? The guy who’s publishing the book reads this blog so maybe he’ll pop in to say why that is. Shit, that was one intense shrink session. I’m sorry, man. I guess it’s good that Xanax was so friendly to you. I mean to see the silver lining and all that. Anyway, yeah, really swell to get to talk with you, my friend. Take care, and come back soon, if it suits you. Love and hugs back to you! ** Jeffrey Coleman, Hi, Jeff. Cool! I mean to see you! I’m good, thanks. That is a weird and most curious coincidence or something about the Ohle book. I have this odd belief or half-belief in fate and destiny and things like that, so I can buy that there’s something bigger than mere luck guiding that seeming happenstance. No, I don’t know about gnOme. A quick initial scroll through their books does indeed reveal how interesting they are. Thanks a lot! I’ll go scour the place in a bit. Everyone, d.l. Jeffrey Coleman tips you guys/me to a press called gnOme whose books look really interesting. I recommend that you follow Jeff’s lead and check them out. Yeah, great, you’re such a fount of interesting tips, man. I’ve found such terrific books and presses and music and stuff thanks exclusively to you. Take care. ** Bill, Hi, Bill. I hope the installation came together perfectly. Did it? What is it? Is Hamburg cool? I drove through there once on the way to Scandinavia but didn’t stop, and I couldn’t tell what the place was like or about. ** David Ehrenstein, I did read that about Ronet and Anna Karina, but it didn’t end up in the post for some reason. ‘Snowpiercer’, what is that? Wait, I’ll go find out when the p.s. is over (for me). Have a lovely weekend, sir. ** Empty Frame, Hi, man. I did a little check on that production of ‘The Notebook’. It looks quite promising, it’s true. Great in any case that that book is getting highlighted publicly ‘cos it’s so incredibly undervalued in a general way relative to its greatness. I’ll ask Gisele if her manager people know about Battersea Arts Centre. Yeah, the UK is really squeamish or something re: Gisele’s work. We get nibbles all the time, but nothing ever ends up happening. Maybe the new ventriloquism piece will get over there since it’s very verbal/text-oriented and the powers that be always say that the UK is all ‘we want lots and lots of talking on our stages’. If I can manage to get over for the Kristof thing, I’ll def. let you know. It’ll mostly depend on whether we’ll be shooting our film around then. Ha ha, actually that HODGKIN/ smashed piece doesn’t sound so bad in theory, but I trust your judgment implicitly. Cool that you’ll see TNP and WB. I haven’t seen either live yet. Cool, cool, cool. Ha ha, whoa: ‘DENNIS COOPER LACKS PERSPECTIVE’. I mean, sure, probably, but still. Of course now my mind is scurrying to figure out what I do that would have made her say that, which is not an unfun pursuit, I guess. Wow, trippy. I do know that there’s no place in the world where me and stuff are more actively and overtly disliked than England. Not sure why, though. But then Will Self’s old-fashioned blowhard literary antics are considered edgy and daring over there, so maybe that’s a clue. I just read this think-piece by WS this morning about how the literary novel has been killed by the internet that was so 20th century out-of-it. Anyway, blah blah, thanks for passing that quote along. Pretty funny. ** Steevee, Blb’s ‘Gerontophila’ has been kind of a success over here in France, or in Paris at least, so I’m guessing that’s why MK2 has come onboard for him? Great luck with the James Gray review. You know, I don’t believe I’ve seen any of his films, come to think of it. Would ‘The Immigrant’ be a good place to start? ** _Black_Acrylic, Hi, Ben. Ha ha, maybe I should quickly copyright that sentence. Actually, Cory Arcangel is all over that. I think I read that he’s doing some big installation work about it. No surprise, right? ** Schoolboyerrors, Ooh, getting the LA airport in there is a nice meta-touch. The wilds of England: how wild are they? Sounds sweet. Oh, historical fiction, right, sure, got it. Nicholson Baker is great, yeah. That dude can write a mean sentence, among his other many virtues. In addition to the sex novels, I have a great fondness for his earlier novel ‘Room Temperature’. The prose in that novel is crazy pristine. And I’ve always envied that title for some reason. My day? Almost all film stuff again. It’s gonna be mostly that way for a while. Uh, Zac and I met with the guy we’ve wanted badly to play one of the roles in the scene we’re shooting in a couple of weeks, and he said yes, so we’re very happy! We have to send the producers a photo of us for use on some flyer about our film that the producers plan to circulate at Cannes, so we went through the archive of photos of us together and found a couple of maybes but decided we should get a more formal one done, which we have to do today. More film stuff: emails, phone calls. Some work on the novel. A bit of walking around in the rain. A bit of reading. Nice day, but not a day so interesting to hear about, I think. I’ll expected to hear how you coped with the wilds today when society has you in its grip once again if not before. Have huge fun! ** Sypha, No, not a fan of ‘Black Swan’ at all. You played that ‘E.T.’ game? Cool. Yeah, it looks like a tear-your-hair-out frustrating mess of a thing. I’m sorry to hear about your household full of sickness, but there’s something kind of goth and haunted house-like about it in my imagination. It seems like it would make a cool premise for a stage play. Maybe I’ll suggest it to Gisele. But, all riffing aside, I am sorry for the suffering part of that otherwise aesthetically interesting situation. Cool that you’ve managed to get your short-story collection in order nonetheless. ‘All the way back to 2010’: that’s a funny phrase. ** Magick mike, Hey, Mike! Always a great and serious pleasure to have you here! What were doing in Santa Fe? Did you see Ken Baumann? Very best to you, sir! ** Misanthrope, Yeah, that’s so, so rough about Rewritedept’s friend. Heroin is a beast. Its grip is insanely tight and its lies are horribly convincing. I think I’m kind of kerazy and goofy in my real life, so maybe that’s why I don’t notice it. Never in my life have I heard of Luke Bryan, for very good reasons, it sounds like. I’m not even going to google him. I don’t want that pollution in my memory banks. Thanks for taking his bullet, man. Okay, that week you’re over there/here is the week we’ll be rehearsing and then shooting our film unless something goes terribly awry. But there’ll be days when we’re not shooting, so, as soon as our dates are locked down, and yours too, let’s sort it out. ** Rewritedept, Hi, man. Yeah, I can’t even imagine how hard that must be to process. I don’t even know if it’ll be possible to process. I think it’s probably something you’ll more just incorporate and then move on changed in some way. My day was good. I told Schoolboyerrors about it above. Man, hang in there and do and feel the very best you can this weekend, okay? Lots of love. ** Okay. This weekend I’ve put together a slightly extra-sized edition of the only semi-/cultishly liked gig posts I do on occasion featuring new music I’ve been listening to and liking lately, and you guys who want to hear and, in some cases, also see some awesome current sonic treats can have at it until Monday. Thank you. See you when the weekend is over.