Laura Cannell
Cities Aviv
Um, Jennifer?
Faith Coloccia + Tashi Dorji
Shawescape Renegade
Luke Haines
The Breedling
Godflesh
The Durutti Column
Rip Van Winkle
Black Meteoric Star
Six Sex
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Laura Cannell The Village Beneath the Waves
‘The music is inspired by East Anglian places which have disappeared throughout the centuries but once held people and sound. Sometimes all that remains is the metal, leather and timber of past communities, the echoes of ghost buildings and the stories of circle dancing around the stones to keep the witches out. Crumbling towers remain and memories are embedded in the flints or washed beneath the waves.’ — LC
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Cities Aviv Concrete Masks
‘For over a decade, Cities Aviv has twisted hip-hop conventions into the most skewed and splayed forms, layering and lacerating twitching loops, extreme production techniques and his mercurial vocal stylings into hermetic décollage.’ — Black Truffle
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Um, Jennifer? Bury
‘Vicious is the word that comes to mind when describing Brooklyn’s “trans-slut rock” duo Um, Jennifer? who are back with their second EP, Dirty Twice, which is out now on Final Girl Records. Don’t mistake their name for a punchline though, because their music definitely is not. It’s their most feral yet. At its heart, this EP wields desire as a weapon and violence gets rewritten as seduction. What sets this project apart as well is the way it doesn’t soothe over into something tidy, but lean into the messiness of these emotions.’ — Ones to Watch
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Faith Coloccia + Tashi Dorji Invisible Lines Between Imaginary Lands
‘The depths of connection to land, connection lost (and recovered), land itself lost (and so often never recovered); land partitioned, annexed, privatized, made allegedly secure –– Faith Coloccia and Tashi Dorji’s collaborative record And Their Power Was Alive haunts the edges of these concepts and antagonizes the possibility of tidy resolutions around them. It aims to yield in order to achieve its ends; a tumbling passion, higher solutions.’ — ROVR
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Shawescape Renegade Ignition One [Tresor]
‘Jeremiah Shaw. Detroit based artist Jeremiah Shaw, known as Shawescape Renegade, J Shaw Electro or SpaceDrifter3000, has been an up and coming artist influenced by some 80s, 90s and early 2000s Detroit Electro. He first signed with international band AnTiZeRo in 2008 and is still with the collective. He later went to release on Militant Science Records in 2010. As a child in the late 90s, he was influenced by early music of Aux88, Detrechno, Drexciya, Dopplereffekt and other Detroit Artist, hearing them on back then was known as 96.3FM. He began to learn to compose music in 2001, but heightened his focus in recent years, dedicating his time to find his own style within the blueprint of his influences. Humble and kind, his purpose, in his own right, is influencing methods of Escapism, in times of stress or hardships, to recoup ones sanity.’ — Exoframe
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Luke Haines Death Card For The Kids
‘One of the sharpest and most prolific British songwriters of his generation, Luke Haines — who began modestly enough in a string of obscure ’80s bands, including — helmed the glam noir of , the broken funk of , and the (mostly) downbeat pop of , in addition to releasing material under his own name. During the last seven years of the ’90s, Haines issued six albums that ranged from fine to spectacular, from the Mercury Prize-nominated New Wave (1993) to the sleek, bleak How I Learned to Love the Bootboys (1999).’ — leboulon
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The Breedling Stalker
‘The Breedling is the musical pseudonym of Norfolk-based artist Chris Spalton. Spalton works in the storytelling tradition, focusing on local folklore, communicating old tales in new ways using illustration, film and sound. Sometimes the communication is direct and linear, sometimes abstract and uncanny.’ — Wrong Speed Records
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Godflesh Feral Colony
‘The end of a band that helped shape your ears can feel strangely like the loss of an organ. Those two eccentric punk kids from the late 80s, with their council estate upbringing amid the factories of Birmingham, somehow concocted a dizzying cocktail from elements as disparate as Killing Joke, Eric B. & Rakim and The Stranglers, as if summoned for a peculiar calling: befriending wires and circuits and mimicking the roar of assembly lines in order to ward off the horrors of the machine. In stripping away the ego, they left behind an eclectic and wildly creative arsenal of experimental sonic artillery.’ — Aydin Khalili
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The Durutti Column Liars
‘The Durutti Column are a “band” the same way that Nine Inch Nails are a band. Most fans of the group know that The Durutti Column is essentially a solo project, spearheaded by the incomparable Vini Reilly. A few words come to mind in attempting to describe Reilly – ‘elusive’ being the primary one. He’s not a man that we know a great deal about, and is notoriously a bit of a recluse. Very much in the vein of many other 80s front-men, say, a Paul Buchanan or a Paddy McAloon. Musically, his output in the 80s veered slightly left-of-field from his post-punk contemporaries (which is saying something, for the genre). Late-stage careers are typically where artists find fertile ground to truly make the music they’ve “always wanted to”. Yet for Reilly, this feels like less of a late-career self-indulgence, and more of a second – if not a third – wind.’ — Jacob Manieson
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Rip Van Winkle Prose Kaiser
‘The latest curveball from Robert Pollard’s ever-expanding universe, this time under the banner of Rip Van Winkle. While Pollard is best known as the prolific frontman of Guided By Voices, this side project gives him a playground to push his more eccentric, conceptual ideas without restraint. It’s weird, wild, and fully immersive—less a collection of songs and more like a hazy, offbeat performance art piece.’ — Thomas Wilde
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Black Meteoric Star Dominatron
‘Black Meteoric Star is a project Rayna started in 2006 when she was living in Berlin that brought together her life long love of dance music culture with spiritual themes, drag, and her formative experiences of S/M culture. Electronic music and leather/SM are both ways that queer people have historically built community, created and shared knowledge, and kept each other safe.’ — Ransom Note Records
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Six Sex Ultra Terrorific Fantasy x Not Ur Mom
‘The song ‘Not ur mom’ by Six Sex conveys a message of defiance and independence, rejecting the idea of being controlled or defined by others. The lyrics use provocative imagery like ‘chupaste las tetas’ (sucked my breasts) metaphorically to symbolize boundaries being crossed and the singer asserting their individuality and autonomy.’ — musixmatch
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p.s. Hey. ** Dominik, Hi!!! I’ve been to ‘Cats and Bats’, ‘Hellizondo’, and ‘Beware the Dark Realm’, and the rest are all new to me. May ‘Wellness’ continue to please you. So, is it about wellness? I mean about the popular health thing that goes under that name? Love’s doubling effect gift is very much appreciated in theory, god knows. Oh, have a great week with your mom! Love making my favorite pair of jeans stop fraying, G. ** _Black_Acrylic, The people who are putting on the ‘Carrie’ haunt are known for over-hyping their haunts, but that one looks like it’d work on some level. Same for me. If I didn’t have this blog to share and be shared with, I’d be like late period Howard Hughes without the wealth. ** Adem Berbic, No clue about Williamson, obviously. It’s hard for me to imagine ‘Eden’ being re-translated. Pity to whoever takes on that gig. My friend the writer Bruce Henderson signed on to translate ‘Prostitution’, but it was so difficult to impossible that he gave up after one chapter, which fortunately did get published at least. Whenever I use the third person, which I instinctively don’t, at least to start with, I’m always like ‘wow, whole new world going on here’. I think the Cats and Bats thing is a Ripper-themed thing, yes. Great little haunt, that one. Its proprietor works at Trader Joe’s, and the whole haunt is made out of materials she finds in the Trader Joe’s trashcans. ** Carsten, The ones I listed are just a drop in the bucket. LA has hundreds of Halloween haunts. It’s Oz, it’s Mecca. I’ve been reading more about ‘Digger’, and now I really want to see it. We’ll be attending the Brussels screening, but it’s not until late November, which is good because we need a break. Oh, and there’s a screening in Spain finally. On the 16th, but it’s in Magaluf, which I think is very far from you? ** scunnard, The one time I read a part of a novel-in-progress (‘God Jr.’) at an event, the response was so confusing that I stopped working on it for a year. Oh, yeah, that Laibach show sounds very early Laibach. I have the impression them seeing them nowadays is basically just like seeing a slightly weirder Tool or Metallica or something. ** laura w., That is strange about ‘Red Light’. Such a great song, yes. It’s sad that the people who’ve heard of them tend to only know them from ‘Mexican Radio’. Nothing against that song though. The first Stan Ridgway album is pretty good. There’s still some ‘Voodoo’ in there. I remember the subsequent ones losing the mojo, but I should retry them. ‘Blue of Noon’ is wunderbar. ‘L’Abbé C’ is very good too, among his fiction works. ** HaRpEr //, It’s agony to me that I’m missing those haunts. The majority of them usually only last for one year/season. They’re so much work. The vibe I got off of Catherine’s remark was that because Pinget was gay, he and the R-Gs didn’t have much in common. Which seems like a strange thing to say given how closeted he was. If I see her again, I’m going to press her, which is difficult because she pretends that she can’t speak English even though she speaks perfect English. She’s an odd one. My memory is that Pinget thought the homoeroticism is what went too far, not the prose. He did eventually come around to being proud of it. ** P, Hi! Welcome! I only know the name RC Horsch because a few people have asked me if I’d seen his films, which I haven’t. I just googled him and saw about the serial killer thing, which is news to me. Wow, very interesting. I’m going to investigate that further. What do you think? Thanks! ** Thom, Hey. Yeah, I think the whole Christian thing is what lost my interest, and I’m not hugely interested in religion/mysticism in general. I’m putting together a Haunts post focused on the larger USA, and I’ll see if I can find one near you. I obviously extremely highly recommend them as experience and as art. Thanks, pal, have a solid Tuesday. ** Right. I made a rather eclectic gig out of some stuff that’s been floating my ears’ boats recently. Hope something clicks on your ends. See you tomorrow.
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