30.11.11

Mark Fell - Interview for 06:00 am


























00:06 am. Could you describe your work for the people that haven't experienced it?
M.F. : I divide what I do into three main categories: music which is in the house techno tradition but slightly more unusual; sound works which explore sound synthesis often with several speakers; art installations using light, sound and movement. Although my works are not about philosophy, I’m an avid ready of philosophy and this—somehow—informs what I make. My works place a priority on technology, I have no real interest in expressing feelings, ideas or emotions in my work. Although those things might be present in the work, this isn’t the point or purpose of the work. I take care of the sound and let the meaning take care of itself. 

00:06 am. What is your favorite insult? 
M.F. : Your music sucks.

00:06 am. The music that you recently released sounds like it skips all the time, something like techno made out of fast forwarded something. Is there a certain kind of 'vision' you work towards? Can you talk about the creative procedure for us, again, in terms of describing the relationship of the process and the end result?
M.F. : I have a kind of goal in terms of what I imagine the final thing might sound like, but along the way this is constantly modified by my explorations of the patterns, sounds and technologies that I’m working with. I tend to informally define a way of working, and then make work within that. 

00:06 am. Is there a period in history that you would like to live in or a period that you would recommend?
M.F. : The 1980’s was a good time. Even though in the north of England it was quite difficult, the music and political activism of that time was very strong. 

00:06 am. Do you remember the first sampling record you ever heard? Which one is it?

M.F. : It was the last section of “Babooshka” by Kate Bush, from her album “Never For Ever” from 1980. 

00:06 am. Are you a jealous guy? What are you most frequently jealous of?
M.F. : No I’m not really jealous of anything. 

00:06 am. What is your favorite sound and why?
M.F. : It’s the Jazz Organ preset from the Yamaha DX100. This sound has featured on many of my favourite records. I think the first I can find is “Arm Around You” by Arthur Russell. It’s as close as you can get to a perfect sound I think. 

00:06 am. What specific parts of things are you interested in revealing through what you do when you do it?
M.F. : I like to think my work constructs rather than reveals. To reveal assumes the thing revealed was there before the work, then there are issues concerning how suited the work is to revealing the thing etc. But to construct means to think of the work as a process of actively dealing with things in a self contained way, rather than passively revealing aspects of some greater reality. 

00: 06 am. You can fill in here the question you always wanted to be asked but were never asked and then, if it makes sense to you, give an answer to it as well. 
M.F. : I don’t have one, sorry!

00:06 am. What are machines to you? What is the way you like to work around the possibilities that they offer?
M.F. : For me technology comes first. I like the example Merleau-Ponty gives when he describes a blind person walking with a cane. The person is ultimately not aware of the cane, but instead is aware of the pavement. The cane becomes a part of the person’s cognitive mechanism. When I work on music or installation or whatever, I’m not aware of an interaction between myself and the machines I am working with. 

00:06 am. Being passive means being receptive and being active means being present? 
M.F. : Being passive is something I don’t understand. I think we are always active. 

00:06 am. What is the best idea you have had so far?
M.F. : The triangle.

06 am. What are you reading these days?
M.F. : “Time and the Hunter” by Italo Calvino. The text that came with Catherine Christer Hennix’s recent cd. 

00:06 am. Describe the characteristics of the work of your favorite artist(s)? 
M.F. : The structures present in Yasunao Tone’s MP3 Deviation piece. 

00:06 am. In which ways is the memory / experiences of your childhood a background of your present way of making art?
M.F. : I remember as a young child my mother took me to visit an exhibition of abstract art at the local museum. I remember being very puzzled by this work – just a series of lines and colours. However this curiosity drew me into the work. My prejudice now is to make work that tries to foster this kind of feeling. At first a kind of not-quite-sureness. Too often art funders want work that is immediately appealing to an audience. But in my opinion, confusion is a much better state to engender. 

00:06 am. Can you describe the most recurrent place that you dream about?
M.F. : My consciousness probably. 

00: 06 am. Noise, silence, color, pattern, repetition, chance. Can you translate these words having in mind the role that they play in your work?
M.F. : Silence: gaps are important in my work. It took me some time to recognise this. Like for the typographer or graphic designer, space is important. So too for me silence is important. To give the sounds I use space to be encountered.
Colour: of sound and of light work in different ways – perceptually, socially, aesthetically etc.  This difference is something I have tried to explore.  
Pattern: most of my work relates to patterns and how they are constructed.
Repetition: the right amount of repetition (as opposed to change) is an important aesthetic concern for me. 
Chance: Non of my works really feature chance. 

00:06 am. Which is your favorite city in the world?
M.F. : Sheffield.

00:06am. Three records you usually listen before you go to sleep.
M.F.: Night Ragas.



κιρ κορ












28.11.11

Larry Gus "24 Beats" (July 2011)

























we repeatedly listen to the new shit by Larry Gus

Maybe, I say maybe,
any peoples that s interested to get some
can contact him and tell him: "send me the link please to that new shit" you know.




23.11.11

Pick Me, Pick me!

we need a dreamworld


18.11.11

these must be the days x2

Ο καλυτερος ελληνας περφορμερ Στυλιανος Τζιριτας κι η μοναδα του, με τον καλυτερο ελληνα τραγουδιαρη Αγγελο Κυριου στη KNOT.





















Άγγελος κυρίου
Ο Άγγελος κυρίου φτιάχνει καθημερινή ποπ μέσα από ψήγματα συνομιλιών, λυρικά ξεσπάσματα και παραμορφωμένες μελωδίες και τη μοιράζεται με συχνέςεπισκέψεις στο angeloskyriou.blogspot.com 
Το live θα ακολουθήσει τη διαδρομή σύσταση-στάση-αναπαραγωγή ηχογραφήσεων, με ολίγη απόαυτοσχεδιασμό-σύσπαση

Στυλιανός Τζιρίτας UNIT
Φτιάχνοντας ένα ιδιότυπο και απρόβλεπτο rock n roll με στοιχεία performance, οι Σ.Τ. UNIT προσπαθούν να μετουσιώσουν αστικές νευρώσεις σε ηχητικάπεδία και να περιπλέξουν την ανάμνηση του χωμάτινου εδάφους, τη λαογραφία, τον εκτενή φουτουρισμό και τα ηθικά ερωτήματα με ηχοδομές πουαντανακλούν την προθανάτια αγωνία.

Μετά το Ασ(σ)εμπλαζ (κυκλοφορία σε κασέτα και κασετόφωνο) οι ΣΤ UNIT ετοιμαζονται να κυκλοφορήσουν το νεο τους πόνημα με τίτλο AOR στην Lower Parts και σε φορματ βινυλίου. 

Τα μέλη της μπάντας είναι:
Στέλιος Εφεντάκης:ηλεκτρικές κιθάρες
Θωμά Χαβαλές:μαγνητοταινιες/λαρυγγισμοί/ποιμνοφλογερα
Στυλιανός Τζιρίτας: λόγος/κίνηση/κλαρινέττο

KNOT Gallery
Mιχαλακοπούλου 206 & Πύρρου (εις. από Πύρρου)
πλησιέστερος σταθμός Μετρό: Αμπελόκηποι
Λεωφορεία: Α5, Β5 (στάση ΖΑΓΟΡΑ)


13.11.11

αφρικανα




























blue lagoon στο ΕΜΠΡΟΣ προχθες

video

voodoo funk - marijata - I walk alone

12.11.11

re post

http://mnmlssg.blogspot.com/2011/11/lzy-chf-ssgs-prsnts-winged-victory-for.html


Over the past few years, I've been making an effort to become a better listener. In practice, this has meant taking more time with fewer recordings, being patient with ones I didn't get immediately, and aggressively filtering out hype by actively avoiding review sites and people raving about things released yesterday – or next week (ahem).
Circumstances have also meant that a lot of this listening has been done on my mp3 player, which is a hand-me-down from my friend Dave S that he donated after mine was incinerated in that pesky little bushfire that nearly killed me, back in early 2009. Dave gave me his player mostly because he's a nice guy. Hi Dave. But the headphone jack was slightly busted, which is the main reason why he'd replaced said pod with a smaller, lighter flash drive version. I had my hand-me-down repaired for about sixty bucks, and it serves me well enough to this day.
I can't say I love my mp3 player, really – does anyone? It works, but I don't identify with it or through it, the way some people do with their iPhones (that Siri thing is especially creepy). I can't say I love my mp3s, either. Is it even possible to really love files?
Still, I'd be fucked without mp3, my hand-me-down player, and the internet, music wise. Being a PhD student and living in Australia means that I can't afford to satisfy my appetite for new music with the physical objects, especially vinyl, that I so prefer. I still buy vinyl, but only sure things that I've already had for months on file, in big orders, to cut down on shipping costs. Net effect? I am almost completely dependent on mp3. Quite the full-blown user. I slam that shit right directly into my pod; streaming is for pussies.
Facilitating this habit in an acceptably ethical way means that increasingly I rely on friends of mine sending me sendspace links to their copies, and I do likewise when I've got something new, as well as taking full advantage of soundcloud, and listening to a lot of podcasts. I'm right back where I was in high school: one of us would fork out for the CD, after which we'd fill all reasonable requests for a cassette copy, knowing that our friends would do likewise for us when it was their turn to take the hit on the CD (at a time when 30 bucks was an obscene amount of money). The rest was all radio, which I'd also tape. In quantitative terms, my biggest 90s music spend was on TDK AD cassettes and a series of Walkmen. I listened to my tapes a while back, on a 4 battery 80s Walkman (one of the early 80s models with the double jack) in good nick that I picked up in an op shop; the tapes now sound like shit, but they're easy on the ears. You can listen to their muddy renditions of your faves for hours and hours and hours. They make mp3 sound pretty good.
The combined effects of my efforts at better listening and my mp3 dependency have had interesting effects. I listen to things a lot more. Not just more closely, with undivided attention (which is the ultimate scarce resource in the age of the iCon), but more often. The play count bar, which I activated in iTunes a while back, indicates that I've listened to John Maus' Pitiless Censors... 20 times, Peaking Lights' 936 19 times, and the Menahan Street Band 13 times. This is more than you'd think. In fact, since activating the play count, I also learnt that I've only listened to some albums (I purport to know and understand) three to five times. Which is kinda rubbish, no? The fact that I have a 30 gig mp3 player and prefer 320 or lossless, in tandem with my listening policy, also means that I continually prune the shit out of my collection. If it's NQR, it doesn't last long. But on the other hand, if I've so much of an inkling that a recording has something amazing or exceptional about it (or if a person I trust insists it has), I persist with it. Thus Destroyer's Kaputt stayed on board for months, even though I thought it was a bit naff at first, based on silent ssg DW's rave. Now I fucking love it. As hardwax would say: tip!!! Just had to sit with it for a while, until it clicked into focus with my mood. See? If you're careful about what and how you use what you use, you can learn: not just about the music, but about yourself and the way listening works its way in to you. Give it a go. But then a little something happened...
Anyone who's come within five feet of me this year has heard me gab on about John Maus, Tim Hecker, and Kangding Ray. My wife's father has been on the receiving end of some of these gushes. He's a muso and a boomer and a recorded music aficionado; that rare beast, a man in late middle age who is still actively seeking out, and genuinely open to, new sounds. He's also picky, and will often surprise me by liking things I hadn't expected, and hating things I was sure he'd dig. It turns buying presents challenging, nerve-wracking fun.
I went into a record store - a real, physical record store - to get him the John Maus for his birthday after pump-priming him with a superenthused rant about it, and (seduced by the cover yet again), I also bought him Winged Victory for the Sullen – Christmas sorted. I hadn't bought CDs for years. It felt... weird. I don't dig CDs as objects. Ugly data carriers in cheap plastic cases. Well, the discs themselves were cool when they came out. Frickin' laser beams. So 90s. But, you know, in 2011 in Melbourne, a city where a pint of beer costs ten bucks (USD 10; 6.3 GBP; 7.5 Euro, at least for the next few days) and a burger in a pub costs 19, 25 spaceclams isn't really that much to pay for a CD.
So I pedalled home with the CDs, and cheekily (is it okay to play a gift before you give it?) I fired up Winged Victory, which I've been listening to it very closely on the phones and over the speakers at various volumes for the past few weeks. But on CD? Holy shit balls. Holy fuck. What the fuck was I thinking? Who the hell was I kidding? The CD sounded about 30% better than the mp3. An instant and expensive revelation... I had got so wrapped up in mp3 – by habit, by circumstance, and by active practice – that I straight up jilted myself out of the music. I mean: with mp3, it was all there, all audible, but by comparison it is just manifestly lacking in punch, vitality, body. The CD was just in every way a more visceral, engaging experience. So: if, like me, you are mp3 dependent and think you have heard all your favourite recordings have to give, you are jerking your jack (and not only when you wiggle it 'cos it's crackling).

It made me think of this quote from RA's interview with Ben Frost:
I read this interview today between Nico [Muhly, labelmate on Bedroom Community] and Jonsi [Birgisson, lead singer of Sigur Ros] talking about [Jonsi's new album] Go, where Jonsi was saying he limits what he listens to in the same way he limits his diet to raw vegan food. While I crave red meat and couldn't dream of being a raw food vegan, my approach to music and film and literature is very similar. It's not that I hate music as much as I know I just don't need 99% of it. I don't need to hear every half-baked rehash hipster band Pitchfork is trying to ram down my throat, just like I don't need a fucking quarter pounder meal. But conversely, submitting myself to an hour of like, Darkthrone, is in a way overstepping a naturally occurring inclination to not consume that music and to not submit myself to that sound and that volume. It's more like forcing yourself to go for a run to get rid of the hangover instead of staying in bed. There is a physiological reaction to the experience that translates into this big release of endorphins. It's punishing, and that's the point I think. It's not supposed to be enjoyable in itself, it's a submission. You can't ignore the Norwegians, and I wish more music commanded that kind of commitment.
What's this got to do with the price of dark metal hamburgers in Oslo you ask? Ladies and gentlemen, we live in a depleted age. Depleted fish stocks, depleted tomatoes, depleted uranium: we're loving the convenience, but we're also living the consequences. We are the consuming causes of it all. And all of us have pitchforked the odd 'quarterpounder' when we're in a hurry, no? All of us have partaken in the depleted feast; so all of us have further depleted the feast. The datasea is, weirdly, a hyperabundance of mostly depleted music (just as our real oceans will soon be full of Nomura jellyfish, jumbo squid, and PET bottles, all turning around in the great gyre). What's the problem?
When you eat depleted food, it tastes okay, but it's all in Dr Evil style quotation marks: 'tuna', 'tomato', 'lettuce', 'laser beams'. It tastes 'nice', and makes you 'full', but it lacks... it's not satisfying. And that perpetuates the lack. Which makes you want more. And so you go back, and go back, and keep consuming, and never feel full. Which suits those pimping the depleted stuff just fine. When I visit my mum, she feeds me fresh lettuce from the garden. It tastes deeply green, and deliciously bitter. Winged Victory on CD was just like that: there was more there, there. More space, more dynamism. The silences were more silent, and the strings were stringier. Like mum's lettuce, it was much more satisfying, more nutritious.
So then this week, I went back to the CD shop. I bought Ravedeath, 1972 on CD. I came home, and listened to it, start to finish, at high volume. It was amazing. It was moving. It was also actually quite exhausting. Full on. You had to submit to it, just like Ben Frost's hangover run and Darkthrone marathons. What does this mean for my precious mp3-dependent practice?
Mp3 is incredibly convenient, and, used thoughtfully, mp3 players can offer us all really interesting new ways of moving and listening to music at the same time. They're do-while devices, for using while we commute, work, sit at screens, enter data into the datasea (that's your job, back to work!). Sony invented this paradigm with the Walkman, and with its incredible success, it also proved that most people prefer convenience to quality. Or at least: provided quality is perceived-to-be-sufficient, convenience wins. Most of us will cop a depleted whopper to conveniently address our lack. But are you getting what you need?
So: it's obviously much more important to listen carefully to good music on whatever media you can afford (spending 100,000 on a hi-fi you then play bilge through is most likely a profoundly foolish conclusion to take from what I'm saying). Little speakers, lo fi, a range of setups: they can all offer interesting ways to listen, and they all potentially have value. But don't diddle yourself: our dependency has consequences. Our convenience comes at a cost. Most of us, most of the time? We are listening to depleted music.

11.11.11


TERANGA BEAT- Guelewar






















Τρελλη δουλεια απο τον Αδαμαντιο!!!

7.11.11

WILLITS + SAKAMOTO / OCEAN FIRE / 12k
IREZUMI / ENDURANCE /snowblood
ANDREW THOMAS / BETWEEN BUILDINGS AND TREES / kompakt
BIOSHERE / N-PLANTS / touch
GINORMOUS / THE SOUND OF LOVE IMPERMANENT /ant zen
RAFAEL ANTON IRISARRI / DAYDREAMING / miasmah
MOUNTAINS / CHORAL / thrill jockey
KEENE / THE RIVER AND THE FENCE / poeta negra  
V.A. / TOUCH 25 /touch
A WINGED VICTORY / FOR THE SULLEN /erasedtapes
RYUCHI SAKAMOTO / 1996 / BMG








6.11.11

notes 1 & 2 on whateverness



μαγιο



Την περασμενη βδομαδα ειδα οτι επαιζα ηλεκτρικη για το μαρκ stewart και μετα θα πηγαιναμε για μπανιο αλλα δεν μπορουσα να διαλεξω μαγιο. Ειναι, μαζι με το ονειρο με τον αρθουρ ρασελ, στο τοπ 5 των καλυτερων ονειρων που χω δει ποτε. 

ον ιτ























30/11/1982 Amsterdam

At a friends home, GX Jupitter-Larsen got a tattoo of nothing on his right arm. The tattooist used needles empty of any ink. Performance lasted 10 minutes. Entitled "Tattoo of Nothing".(#9)

pause


5.11.11




































АНДРЕЙ
ТАРКОВСКИЙ
η πράξη του να αποδίδεις νόημα σε οτιδήποτε είναι παράλογη. επειδή κάθε μία και όλες οι ομοιότητες με παρελθόντα και μελλοντικά γεγονότα είναι συμπτωματικές. η αμφιβολία είναι το σημαντικότερο άκρο.


η ευγένεια θα αποτελούσε αντικοινωνική συμπεριφορά εκεί όπου η αγένεια αποτελούσε τον κανόνα


πληροφορία δεν είναι αυτό που τα πράγματα είναι. πληροφορία είναι αυτό που τα πράγματα κάνουν. η χρήση της πληροφορίας σε έναν αντίλογο δεν είναι η πράξη του να δηλώνεις αυτό που τα πράγματα είναι, αλλά το να αμφισβητείς αυτό που τα πράγματα κάνουν.


http://www.jupitter-larsen.com/


http://tileskopio.tumblr.com/