Month: September 2014 (Page 1 of 3)

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Croatian Amor Slim Stomachs
‘Loke Rahbek is a busy man indeed – as if Sexdrome (RIP), Var, Damien Dubrovnik and Lust For Youth (plus running a record label) weren’t enough work. But here we are with Croatian Amor, the self styled ‘bubblegum industrial’ project of the aforementioned Dane. Genitalia Garden is a collage comprised of field recordings, samples and warm bubbly synth that comes together to form the soundtrack to a grimy European arthouse flick that doesn’t exist yet.’ — Fucked by Noise

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Carla Bozulich Deeper Than The Well
‘Never fenced in by genre, Bozulich has been an art punk (Ethyl Meatplow), an avant-garde country crooner (The Geraldine Fibbers), a noisy improviser with one of the world’s greatest guitar players (Scarnella), a storyteller capable of reimagining a classic Willie Nelson album (“Red Headed Stranger”), and the leader of a misfit trio that creates intense, uncomfortably dark music (Evangelista). The only constant is her unflinchingly honest point of view. “Deeper than the Well” is taken from her upcoming fourth solo LP Boy and indicates that despite being in the fourth decade of her career, Bozulich isn’t close to losing any steam, delivering one of her most left-field compositions yet, as well as a clever and intensely sexual set of lyrics.’ — collaged

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James Hoff Blaster
‘New York based conceptual artist James Hoff returns to PAN with Blaster, a document of his explorations of computer viruses as agents within the composition process. Specifically, Hoff used the Blaster virus to infect 808 beats and then utilized the mutated results as building blocks for seven new compositions. Hoff’s interest in computer viruses lies in their ability to self distribute through (and ultimately disrupt) networks of communication and Hoff’s agency as an artist centers on placing these parasitic forms into pre-existing genres, such as dance music. Blaster is a timely exploration of the infectious qualities of sound, and how it too, as a carrier, makes it’s way through social networks, reduced to bits and programmed to infiltrate and replicate.’ — p-a-n.org

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Dan’l Boone Part 2
‘Uniformly adventurous musicians Nate Young (Wolf Eyes), Neil Hagerty (The Howling Hex, formerly of Royal Trux), Alex Moskos (Drainolith), and Charles Ballas (Formant) have just formed Dan’l Boone, and nothing makes any sense. “I’d come downstairs into Charles’ basement and Nate and Neil would be making competing diagrams that represented the record. I was so lost,” says Moskos. And to supplement the visual philosophizing, Hagerty stated the following, “cryptically,” in a voicemail to Ballas: “To create music by reverting to zit-popping thrash, you must believe that the prognosis is so dismal that it takes time to hear them retain enough for your face before summary dismissal.”’ — Tiny Mix Tapes

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This Will Destroy You War Prayer
‘There’s rattling, dubbed-out drums, unhinged strings, levigating shoegaze guitars, electronic drifts and blowouts, synthesizers that seem almost sentient, and layers of gentle, toy-box notes over woozy, kitchen-sink noise. The jazz of “Mother Opiate” evokes Bohren & der Club of Gore, and on opener “New Topia”, deep synthesizer washes and plaintive guitars build up for a minute and a half, before slow-motion drums march in front of friskier noises towards a huge, blissful, earplug-rattling wash. “Serpent Mound” offers twisting, churning electronics and aching guitars worthy of My Bloody Valentine and the ghosts that band’s known to pack into their sprawl; “The Puritan” is an ambient refrain that feels like wind drifting across a burnt-out prairie, and the explosive martial pace and windy space ringing inside “War Prayer” send chills. Some songs make me think of laying on my back in a planetarium, wondering about friends who’ve died.’ — Brandon Stosuy

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Helen Adam Fearless Junkie Song
‘A ‘bardic matriarch’ to the San Francisco Beats and, in her narrative voice, ‘a sorceress with distinct powers over and within [that] community’, Helen Adam’s early life as the daughter of a Presbyterian minister in the north-east of Scotland appears to offer little indication of what was to come. Having moved to America in the 1930s, she settled some years later in a community in which formal experimentation was often the poetic mode-du-jour. Adam’s reputation, however, rested on her retention and mastery of the ballad forms of her native land. Her importance was crystallised in her inclusion in Donald Allen’s seminal collection The New American Poetry 1945-1960, and she was to extend her artistic vision into experimental filmmaking and collage production, as well as the writing of a successful opera. Personal circumstances hindered her endeavours in later years, precipitating a slide into obscurity. Indeed, it is only since her death that Adam has begun to receive once more the recognition her work merits.’ — Spl

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Grouper Call Across Rooms
‘Recorded almost entirely in Aljezur, Portugal while Liz Harris was taking part in a residency, Grouper’s new album Ruins might be the most stripped-down set of songs she’s released so far. The songs came about when Harris happened upon a room with an upright piano – she had a 4-track Sony recorder with her, so that became her setup. After long walks through the ruins of a small village nearby, she would sit at the piano and process, in her own words, “a lot of political anger and emotional garbage.” The result is the most naked, raw recordings we’ve heard from Harris – a far cry from the comparatively sunny Dragging a Dead Deer up a Hill.’ — Fact Magazine

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Kemper Norton Her
‘The music of Kemper Norton streaks across the ages like a tipsy beach-comber, enthusiastically and expertly skipping across time’s tide and handpicking an array of instruments, contexts and influences to form what he succinctly describes as “coastal slurtronic folk”. Far from being a romantic nostalgia trip, like the rash of recent releases that turn today’s laptops into yesteryear’s Radiophonic Workshop to relive their youths spent watching cult TV, Kemper Norton’s music exists within the continuum, encapsulating a free range of sounds and stories spread throughout history. Here, medieval mandolins meet modular synths, or a 19th century harmonium harmonises with its future cousin the Casio keyboard, evoking anything from pre-Christian myth to post-modern polemics.’ — The Quietus

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The History Of Colour TV 1-800-BADNITE
‘The History of Colour TV is a Berlin-based shoegaze outfit whose origins began in 2010 as a conceptual audio-visual project of musician Jaike Stambach. After self-releasing several experimental cassette-only EPs and accompanying videos, the project began to take on a fuller shape as Stambach brought in additional bandmembers to color his dreamy, darkly textured pop songs. Their first release as a group was 2011’s Colour TV EP, which still incorporated some of the more abrasive ambient textures of Stambach’s earlier solo work, but was far more anchored in song format. A deal with Texas-based indie Saint Marie Records was struck and they released their debut album, 2012’s densely layered Emerald Cures Chic Ills. Stripping down their sound, while keeping it no less potent, they returned in June 2014 with When Shapes of Spilt Blood Spelt Love.’ — collaged

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Krieg Ruin of Our Lives
‘Krieg has returned. For anyone even remotely familiar with US black metal this demonic wrecking crew needs no introduction. Over the course of their 19-year career they have produced some of the finest albums to emerge from the US black metal scene. And their latest is no exception. Transient, which is being released by Candlelight Records, continues their tradition of challenging and expanding the boundaries of the genre. Jameson’s vocal performance is gut wrenching throughout. Some of his side projects and previous works have suffered from a lack of variety, but this is definitely not the case with Transient. You can feel the venom and vitriol oozing from every syllable. His vocal attack fits perfectly into each of the songs. From deathly bellows to throat shredding growls, Jameson puts in the vocal performance of his career. It’s a far cry from the standard black metal screech we have all heard a thousand times since the dawn of the second wave in Norway.’ — metalbandcamp.com

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Shellac Dude Incredible
‘You know the Shellac drill by now: born of Albini’s very own recording Arcadia, Electrical Audio studios; the extrapolation of simple practice-ideas that gradually become live staples; recorded without question to analogue tape; aluminium-bodied Travis Beans (this isn’t some kind of metaphor); nothing really resembling a chorus; tangerine trousers; sombre yet mirthful; released, as always, on Touch And Go; and a carefully considered artwork package, which this time is a chipboard square and glossy macaque print (more about them later). Whatever you want to call their shtick – math-rock, post-hardcore, minimalist jugular-cutting, or just a white, angry man talking with style – it remains just that. Dude Incredible sounds “like a Shellac record” according to Bob Weston, and he’s right. Not that that’s a bad thing of course. When I eat my once-yearly Cadbury’s Cream Egg I expect the sugar content to make me feel dizzy and I’d be irked if it didn’t. And similarly, when I hear a new Shellac record I expect it to kick me in my imaginary balls.’ — The Quietus

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Ice Orgy live in Brooklyn
‘Ice Orgy is about as cold and indulgent as the name suggests. These crawling drones come courtesy of an autoharp and electronics, painting grainy streaks of disharmonious tones, and gently throbbing them into your ear holes with a plodding, pounding pulse that gradually doubles-down into a rolling rollick – the kind of thing that you’d imagine zombies dancing to. The upper register is a swarming mass, a cloud of uncertainty and unknowing seeking out any relaxed corner of your brain and infecting with a discomforting notion of simple dread. Ice Orgy is pure anxiety in sound, a cold sweat for the ages.’ — collaged

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Call Super Coney Storm Drain
‘Since I’m reviewing a techno long-player, I’m supposed to make some sort of comment about how it bridges the theoretical gap between the club and bedroom/headphones/whatever, right? It makes sense, given how many artists botch the album thing on a regular basis by just going the banger-interlude-banger route or toning down their club sound into inoffensive nothingness, but Call Super is one of the few who doesn’t even need to distinguish between the two, creating a self-sustaining space so unique that the two collapse into each other. Unlike, say, Kassem Mosse’s brilliant record from earlier this year, Suzi Ecto isn’t just a collection of well-engineered cuts that work outside the dancefloor, but a world unto itself, full of unnaturally iridescent chimes and hissing, crunchy sound design. Its neon skylines work wherever, alien enough to remain interesting after the umpteenth listen but comforting enough to make you want to spin it that many times.’ — Tiny Mix Tapes

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p.s. Hey. I’m sick with a bad cold or the flu or something, so this p.s. is probably going to really suck, sorry. ** David Ehrenstein, ‘He can move stuff around but … he has no real ideas of his own:’ that makes sense to me. Early on. when he’d only made ‘Seven’, ‘The Game’, and ‘Fight Club’, I’d expected differently. ** Jeffrey Coleman, Hi. When my brain returns, I’ll try that lecture. Thank you. I hope your email to your friend gets something going. Doll Food, cool, yeah, as soon as my ears aren’t all clogged up, I’ll check that out. Thank you again. ** Damien Ark, Hi. Cool that the post triggered art making longings. Sometimes pauses can be the best medicine. Yeah, thank you a ton for the posts! So great! Peter’s really nice. He’s pretty easy talk to about anything. We talked about The Rolling Stones, whom he loves, for instance. ** Misanthrope, Dig, about the ghost stuff. I’ve never been so scared that I lost control of my bodily functions. I was so scared once when I was a little kid that I went into shock, though. Eragon, what’s that, oh wait, I remember, never mind. ‘Cecil B. Demented!’ What an underrated wonderful movie. ** Steevee, I love being pleased by your reviews, so cool. ‘ … it’s very mainstream (in the UK tradition of THE FULL MONTY & BILLY ELLIOT) and suffers from a formulaic screenplay’: that’s a flashing red light of a blurb if I ever read one. ** Thomas Moronic, Thank you again, man! So lovely. Oh, I’m going to run your gp #2 (EIF#7) on this coming Friday. My weekend was varying degrees of ruined by sickness, but it was okay within that context, I guess. The webpage for that collaborative art group is really nicely designed, and I’ll check it out once my brain cells cooperate. ** Dan, Hi. Oh, cool. Shit, I’m toast above the neck, and pretty much below it too, but I’ll cast my hazy eyes over the email and get back to you as best I can today. Thanks! ** Kyler, Good about the southern quiet. Oh, okay, I see, about ghosts being able to die or ‘die’ or die again. Weird, cool. ** gucciCODYprada, Hi, man. I’ve started, but it’s going to take me a while. Sorry. But I’ve started, and it’s too early on to say much, but it’s awesome. I did like Gesaffelstein. I listened to a bunch more in fact. Might put some on the blog in fact. Love from sluggish, feverish me. ** Hyemin K, Hi. Yeah, sure, okay about the no interview thing. They’re usually red herrings anyway. So are solid perspectives. I’m into confusion, you know. Definitely don’t risk an unfortunate accident. I’m trying to avoid them myself until I can actually think clearly again. ** Keaton, Sculpture is God’s Halloween candy. Satan’s too, I guess. ‘Paper craves design’: whoa, that’s nice. ** Kier, Hey, buddy boy! Record fairs! I love them. I miss them. I don’t think they have them here. Or maybe they do. LA had/has great ones. Yay about the great drawing day. Too bad that the other day didn’t work out that way, but that happens, right? Uh, this will be a shitty report because my head is shit, but … Kiddiepunk, yes. First I saw him on Friday. We hung out. We hung out with Peter Sotos. PS is visiting Paris right now. Well, duh, how else could we have seen him? Kp and I saw Stephen O’Malley’s drone symphony performed at a church. That was beautiful. I started getting sick then. The next day I really getting sick, but I drank coffees with Kiddiepunk anyway, and that was nice. Then I got sicker and sicker. I couldn’t see Lust for Youth and Croatian Amor because I was too sick, and that was very depressing. While I was sick, I did minimal things not very well and blew my nose and coughed and felt like crap. I’ll spare you the sickness details. So, now I’m sick, but I need to get better today somehow because at 10 am tomorrow morning this film crew is coming over to shoot a giant interview with me for a new JT Leroy documentary. Ugh. How was Monday? For sure it will be a billion times better than mine no matter what happens. ** _Black_Acrylic, Hi. Oh, shit, more Art 101 delays? Sorry, man. It’ll be so worth it all, though. ** Sypha, Oh, I remember that character existing, but I don’t remember what he looks like. Oh, wait, that’s the guy who’s seen giving someone a blow job with smoke coming out of his mouth in that amazing brothel scene at the end, right? Nope, I’ve never seen that band’s name written anywhere. Usually, I at least know boy bands’ names. Yeah, I probably won’t pick that album up, ha ha. ** Derek McCormack, Hi, Derek! Cool, so weird about Giles being on my doorstep, no? I tried to ask around and find out why he was here, but no one knew anything. That dark ride really, really looks like a dream. I bookmarked that page, and I keep looking a it. Oh, that’s sad you won’t be here this fall, but, yes, spring! Spring in Paris is famously and justifiably beautiful. And I have so much to show you, so do make sure to come. I’ll go to David’s show for completely sure. Oh, man, I so hope the surgeon can clear up your guts’ problems. Whoa you finished your novel! And you’re finishing the Count Chocula book! Holy shit, Derek, that’s such amazing news that I literally feel like I’m not sick at this very moment. Seriously, I could climb to the top of this gigantic tree outside my window in the pouring rain — it’s raining right now — and … do whatever one would do at the top of a gigantic tree. Scream in terror to be rescued? Anyway, you get the picture. Tons and tons of love to you! ** Jonathan, Hi, man! Stephen’s thing was really beautiful. I have 24 seconds of surreptitious video of it on my phone I can show you. Super sucks that I didn’t see Croatian Amor ‘cos I’m sick as a dog. I’m glad your Friday thing was at least fun enough. I’ll so go get matcha cake with you if you can wait a day or two for me to be normalized again. Or just go yourself asap, and I’ll drag you back there again. ** Right, well, that p.s. sucked. You don’t have to be nice and tell me it didn’t, but thank you for the thought if you did think that. The gig today is quite good if I don’t say so myself, and find out why I said that if you want. I’m going to go try to get well now. See you tomorrow.

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Sunn O))) Hell-O)))-Ween
‘There’s a kind of bliss in the folds of “Hell-O)))-Ween”‘s distorted bass and tensile, wavering electric guitars– its thick, repetitive chord changes might be the steadily gaining footfalls of a giant whose friends have already left you beaten and bloodied. Appropriately, the song’s second half descends into droning death knells of tonal squall, a requiem for humanity. On its surface, “Hell-O)))-Ween” are riffs made miles long by sustain. But that length is like a timeline, or a trajectory from the simple fears of man’s formative years through the powerfully unsettling simplicity of two distorted guitars and an enormous bass cabinet. On White2, Sunn set their amps on “primeval.”‘ — Johnny Loftus

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Azer, Mime of Darkness w/ Raven & Tara Going Under
‘Raven, Your Acid Bath Princess of the Darkness and her pal Tara are on a goth-lite freakout! In this early video that they made with their friend Azer, Mime of Darkness (whose father wouldn’t let him be on YouTube, but then didn’t care, so they posted it), we have a perfect introduction to our new “serious as death” friends. Azer, Mime of Darkness got caught going into the “prep mall” while they were being goth across the street at Hot Topic, causing his ousting. Death to false goth! Easy come, easy go. See ya Azer, Darkness!’ — Dangerous Minds

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Andy Pratt Inside Me Wants Out
‘Andy Pratt’s self-titled album is a very quirky, idiosyncratic album that definitely establishes Pratt as a major force in the singer-songwriter arena. He also sounds very depressed as many of the song titles indicate (e.g. “Inside Me Wants Out,” “So Fine, (It’s Frightening)”). However, this doesn’t diminish the album’s power or the particular style that is very much Pratt’s own. “Inside Me Wants Out” is in the running as one of the most dismal songs ever recorded, and could seriously be used as a study tool for a psychology class — Sigmund Freud would have a field day with it.’ — collaged

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Aphelion Door Frame
‘Cool stuff from this Washington state artist. Soundwise, think the love child of Dissecting Table and Navicon Torture Technologies (with a few stray sperm cells from Winterkalte), that came out completely malformed and mishapen. 10 brutal creations fueled by anger and pain, spewing forth a barrage of relentless sound layers combining dark, chaotic noise with walls of blasting percussion, screams, samples, and just plain bedlam.’ — Tesco

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Coil The First Five Minutes After Death
‘Coil’s 1986 album Horse Rotorvator ends with “The First Five Minutes After Death”. An instrumental that sums up the album. Cold, Dramatic, and Hopeless. With blaring horns, screeches, and instrument work that sounds like well, the first few minutes after death. It’s like the last person in the apocalypse dying and looking on at all of the destruction before he moves on to the after life. The album could be too depressing for some. If you are considering suicide or are really down on your luck, I would suggest not listening to this. It is easily more sad than anything else I’ve heard.’ — Sputnik

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Propergol Outburst
‘Crée au milieu des années 90, Propergol, projet unipersonnel Français, s’est imposé, après quelques CDR’s et plusieurs CD’s, comme l’une des meilleures formations apparues dans le domaine des musiques électroniques underground ces dernières années. Propergol tire son nom du carburant utilisé pour le fonctionnement d’engins spatiaux. A l’image de son appellation, Propergol est un brûlot, un concentré de solutions inflammables n’attendant qu’un allumeur pour y mettre le feu. Inutile d’ailleurs, car l’énergie dégagée par le groupe y suffit. Les morceaux les plus ambiants ne préfigurent jamais la paix ou la quiétude… Ils ne sont que le prélude d’une apocalypse à venir, le décollage d’un avion qui, tôt ou tard, s’écrasera.’ — TRP

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Colin Newman I’ve Waited Ages
‘Though it doesn’t quite have the all-encompassing range of the connotative title, Colin Newman’s first solo record features the wildly imaginative streak that makes Wire’s first three records so endlessly exciting. In fact, A-Z was supposed to be his band’s fourth record, but their label saw things differently. A-Z‘s insular, cloistered nature gives the feel of a 3,000 piece puzzle with no jagged edges to be found — everything seems obtuse and ovular. That said, it takes some deep listening to get a grip on. It might not be a Wire record in name, but A-Z truly deserves to be held in the same regard as Pink Flag, Chairs Missing, and 154. It might be really warped and utterly confusing at times, but it’s riveting throughout. The CD version adds five tracks, most of them being very worthwhile.’ — collaged

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Stalaggh Untitled
‘Stalaggh came into its futile existence around 2000, when members of the Dutch and Belgian black metal and ambient music scenes came together for the express purpose of making an album that would fill their listeners with despair. To help achieve that goal, they dispensed with the usual growling black metal singers and instead brought in mental patients. Apparently one of the members of the band works in an insane asylum and was able to get permission to work with some of the patients, under the guise of it being primal scream therapy. Allegedly, among the many “vocalists” the band has worked with in this way is a guy who was institutionalized for killing his mother by stabbing her 30 times.’ — collaged

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Awsomemcmetcalf15 If I Die Young
‘i have another chanall its a65248’. — Awsomemcmetcalf15

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Severed Heads Lower than the Grave
‘Severed Heads are one of the longest surviving bands to emerge from the Australian post-punk independent music scene. They began in Sydney in 1979, incorporating elements of ‘industrial’ noise-generation, tape cutting & looping and electronic sound synthesis. After several releases in that vein, Severed Heads began incorporating various popular music tropes, such as a consistent 4/4 rhythm, strong melodic lines, and resolving chord arrangements. This move was underscored by the incorporation of mimetic devices, such as drum machines. The result was a striking hybrid of the avant-garde, EBM and Synth-pop. After many line-up changes featuring Gary Bradbury and psychedelic guitarist Simon Knuckey, Severed Heads was the vehicle for composer Tom Ellard. On 4th February 2008 Tom Ellard announced the end of the “Severed Heads”. Severed Heads played very last live shows on the 16th and 17th December 2011.’ — collaged

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The Tomb of Ellery Can’t Sleep, Clowns Will Eat Me
‘This is our computer-controlled animated band that performs at our anual Halloween party. This year the boys sang “Can’t Sleep, Clowns Will Eat Me” by Alice Cooper.’ — FresnoDoug

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Atlas Sound Coffin Trick
‘Though it was Cox’s earliest musical incarnation, it wasn’t until 2008 that the first Atlas Sound album emerged, Let The Blind Lead Those Who See But Cannot Feel. The genesis of the record can be traced back to those sixth-grade musical experiments; a time when he discovered through reading a Beck interview that his family’s disused karaoke machine could be used as a rudimentary multi-tracking device. As Cox’s tirelessly updated blog attests, with its caverns of freely available covers, demos and mixtapes, such recording processes are central to his music, colouring the intimate feel of Atlas Sound in a manner more apparent than when writing under the guise of Deerhunter.’ — 4AD

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Nico Das Lied der Deutschen
‘The most provocative and controversial song in Nico’s entire repertoire, “Das Lied Der Deutschen” was the historical German national anthem, adopted during the post-World War I Weimar regime in 1922, but better known for its associations with the subsequent National Socialist government. By 1974, the first two verses of the song, including the opening lyric “Deutschland Deutschland uber alles, uber alles in der welt ” (“Germany, Germany, above all others, above all others in the world”) had been outlawed in Germany for almost 30 years, and Nico knew, long before she recorded it, the effect it would have on listeners. What she did not expect, somewhat naïvely, was the depth of hatred that her actions would arouse. Her performance itself is stirring for all that. Her voice is simultaneously mocking and sincere, a combination which resolves itself into one of her most beautiful efforts ever.’ — collaged

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Haus Arafna Lucifer
‘The name of the band is related to an euthanasia physician called F. Mennecke, but Mennecke’s philosophy is definitely not important for us, and we don’t even know his personal philosophy. He used to write regular letters to his wife. After a “selection” in the Bethel clinics for nervous diseases he wrote a letter that brought a special flair to the Arafna house and inspired us to name our band “Haus Arafna”. The letter is quoted in extracts in the cover of our Blut CD. He wrote about the dinner he had in the hotel and by the way how much occupants he killed that day. We are interested in irrational things in general, especially in any kind of horror that happened behind closed doors, leading to the conclusion that one might ask what’s happening inside some hidden or secret systems today. Apart from that, Haus Arafna is a pleasing name. We launched Haus Arafna, because we were full of energy and simply had to start off. There isn’t more to talk about…’ — HA

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School of Rock Portland The Green Manalishi
‘For over 15 years, School of Rock has been teaching kids and adults to play music through unique performance-based programs. The School of Rock Portland school opened in 2006, and has performed over a 100 shows often joined by local bands such as The Thermals, Red Fang, Portugal. The Man, The Decemberists, Blitzen Trapper, and many more. School of Rock Portland recently put on a show of all Melvins songs. Check out these awesome kids!’ — SOR Portland

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Death Grips Beware
‘“Beware” follows an unnamed protagonist as he abandons his humanity, giving in to the anger and frustration in his mind and becoming a sort of monster among men. The song explores several, admittedly dark, themes, including: sacrifice, satanism, violence, intolerance, greed, rage, witchcraft and magick, and suicide. The introduction notably samples from an interview with American criminal Charles Manson. The song also samples Up To The Beach by Janes Addiction and Dickie Burtons God Is Watching.’ — Rap Genius

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Ululate Lunch-Carrion
‘Chinese Black Metal band Ululate was formed from the ashes of another Black Metal band, which Spectre was a part of. His first CD, We Are Going To Eat You, was released in 2003 through Dying Art Productions. Lyrical themes include horror and zombies. The second CD, YaZi, was named for the town the songs on the album arebased off of. The album also includes live songs from a gig in Wuhan 2003 was released through Dying Art Productions in 2004.’ — collaged

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Rob Zombie Superbeast
‘Shriek the lips / Across a ragged tongue / Convulsing together / Sing violently / Move the jaw / Cry out loud / Bound up the dead / Triumphantly // The ragged, they come / And the ragged, they kill / You pray so hard on bloody knees / The ragged, they come / And the ragged, they kill / Down in the cool air, I can see // Hey, yeah, I’m the one that you wanted / Hey, yeah, I’m your superbeast / Hey, yeah, I’m the one that you wanted / Hey, yeah, I’m your superbeast’. — Rob Zombie

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Jason Crumer Betrayal After Betrayal
‘Using powerfully clear electronics as a base for declarative noise bursts, Crumer manipulates the sounds with a resounding animosity. In the vein of past Hospital releases from Pedestrian Deposit and Air Conditioning, Crumer yields a mean streak and an array of silences over the course of the album. The theme here is personal relations with tracks like ‘Betrayal After Betrayal’ which has an almost conversational quality, both the screams and the muffles, the physicality. ‘Pissed Off Response’ is an actionist-influenced piece of torture. There’s nothing not painful here, especially the quiet — the peaks are almost a relief. Ottoman Black is a stern and unforgiving universe.’ — Volcanic Tongue

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p.s. Hey. ** James, Hi. I don’t know Stanley Crawford’s work at all, so I don’t know if there are great similarities or not. I’ll take your Happy Tuesday and raise you a Happy Wednesday. ** Cal Graves, Hi, Cal. Welcome to here, and thank you for the love/hate, which makes total sense, and I’ll accept that gratefully. Is it possible to read your writing? I would like to, if so. And, yeah, if you feel like hanging out here anytime, that would be very cool, and it would be great and interesting to get to know you. Take care, and thank you again. ** Chilly Jay Chill, Thank you, man. The photographs were a wonder. Yikes about your computer, but, obviously, everything on it has been backed the shit up, right? I hope it clears and refills lickety-split and asap. I’m just feeling/typing my way back into the novel in a mind-to-hands-on way now, and my plan is to work concentratedly on it beginning maybe even today, but starting tomorrow at the latest. Yeah, whew, the scary problem re: the editing turned out to be a unfulfilled theoretical scare, but it was nerve-wracking there for a while. Onwards and inwards and outwards now. All is very good here, thank you! ** Thomas Moronic, Oh, man, sweet and gratitude central about the blog posts! I’m in need, and your curating and artistic overseeing skills are unparalleled, natch, so, yeah, thank you so much! ** David Ehrenstein, Hi. Yep, the new Honore exists. It’s been in theaters here for a couple of weeks. It’s really something, even for him, and it’s gotten the best reviews he has had for a while, so, yeah. I hope it gets released in the States. ** Kier, K! I do get happy escort client emails sometimes. I also get quite a few emails from people asking me to put them in direct touch with the escorts and/or the slaves, but I don’t do that. Definitely not into being their pimps. And, most of the time, by the time the post launches, I don’t remember exactly where I found them anyway. Good, cool: Paris/Le Manoir date it is. Just tell me when is good whence when is figure-outable. Figureoutable isn’t a real word? It was hot here too. Even gross hot. I hope your foot has healed itself from the inside out. Today is packing day! That should be fun, but I kind of like packing for some weird reason. Definitely more than unpacking. And you leave tomorrow, or tonight? No doubt about that new cover and cuteness. Lemme see. Tuesday: well, mm, first, the potential big problem with the film/editing got resolved, which was a huge relief. Briefly, what happened that, while going through the footage to organize it to give to whatever person we’re about to hire to really organize it for us pre-editing, Zac discovered that the sound files for the second and third days of shooting of one particular scene were missing and that the sound guy for that scene had given us the sound file for the first day over and over. That scene has important, intricate sound that can’t be redone or faked without ruining everything, so it was potentially a complete disaster, but, luckily, he tracked down the machine on which the sound was recorded and, miraculously, its memory had not yet been wiped, so we were able to retrieve the sound files we needed. So that happened. I wrote some. Zac’s going away tomorrow to the States for three weeks, and I always give him plane treats, i.e. things to eat and play with on the plane, before he leaves for anywhere by air, so I traveled around Paris gathering things to give him, and that was fun, but it was really hot, like I said, so I wound up a sweaty mess. But at least everyone else around me was too. I saw a poster that announced that Kraftwerk are doing that big series of 3D concerts that they’ve doing at various spots around the world in Paris, and I got excited until I realized that it’s while I’ll be in Iceland, so, oh well, and I’ve seen Kraftwerk twice, so I guess it’s okay. I think everything else that happened was uninteresting par-for-the-course type stuff. So, okay, today you packed and then … left, prepared to leave? What happened? ** Steevee, Hi. Yeah, based on the bit I saw of ‘Goodbye to Language’, I thought it was really inspired and extraordinary. You’re so lucky to have gotten to see the whole thing not only in the theater but presumably with subtitles. Awesome! ** Misanthrope, You were Mr. Delete yesterday. Did you reveal things about yourself that you had second, third, and fourth thoughts about or something? ‘Mystery is interesting’: truer words hath ne’er been spoke. I don’t know, I don’t think Ocean’s being into guys would dissuade an attraction to him from women. It’s all a big fantasy attraction anyway. If he’s into guys, it would just make the fantasy even more exciting, right? I.e., ‘even though Frank was into guys, when he saw me, …. ‘. ** _Black_Acrylic, Hi, Ben. One day to go! It must be super intense where you are! ** Hyemin K, Hi. I’ve heard that about eating late, of course, but I’ve also read in seemingly knowledgeable contexts that the ‘eating late = unhealthy’ thing is a myth, that it started as something mothers said to their kids, and that it somehow got turned into official medical advice when it never was. Like … my grandmother insisted when I was a kid that, if I are carrots, it would make my hair curly. She meant that as positive thing, but the last thing in the world I wanted was curly hair, which might explain why I’ve never been a big fan of carrots. Anyway, as an extremely plain eater, your food sounds exciting to me. ** Sypha, Hi. Oh, then the company might actually have invented the term, huh. ** gucciCODYprada, Hey, man! You good or hopefully even great? Today is hopefully the last day when I am overly busy mopping up work on the film, and my plans is to restart reading (yours) and writing (mine) as of tomorrow at the latest, so it’s almost happening, man. What’s going on? Love, me. ** Rewritedept, Hi. I’ll try on my end, timewise. I don’t know, I’ve never done FaceTime. I’m not sure if I want to. Every time someone FaceTimes me, it feels like a wasp is flying in my face, and I immediately end the call. Mm, I don’t know about March, to be honest. It’s too early to say. I’ll have to give my answer to your question in raincheck form. My day wasn’t bad. See: my thing to Kier. Why butcher paper? I saw that signed setlist on my FB need. Very cool indeed. Wow, I’ll do my best to make my Wednesday live up to your sparkling theoretical rendition of it, man. Big challenge. I like challenges usually. ** Okay. So, your next Halloween post is a seasonal gig curated to give you the spooks. Dare you click those arrows and potentially get the bejeezus scared out of you? One wonders. Do what I just suggested or don’t, and I’ll see you tomorrow.