06:00 am

CHRIS BURDEN-repost from trilogy tapes blog

2012-02-02T22:48:00.003+02:00

2012-02-01T20:45:00.001+02:00

david shrigley

peter sutherland AGAIN!!!

2012-02-01T16:41:00.002+02:00

<3 <3<3

http://petersutherland.tumblr.com/

2012-01-31T02:39:00.001+02:00

http://vimeo.com/33713231

ndagga.com

2012-01-26T23:11:00.000+02:00

the boop top

2012-01-26T23:04:00.001+02:00

http://gravelandgold.com/shop/clothing/the-boob-top/

με lodic

2012-01-25T14:12:00.000+02:00

http://soundcloud.com/melodic-records/sets/hearing-aid-vol-2

2007 ο τυπος

2012-01-24T00:02:00.000+02:00

ρυζογαλο

2012-01-22T23:41:00.000+02:00

2012-01-22T15:01:00.002+02:00

graham lambkin - amateur doubles (album preview) by experimedia

2012-01-22T01:41:00.002+02:00

2012-01-21T18:18:00.001+02:00

http://xysm.bandcamp.com/

playboy based love

2012-01-17T13:23:00.001+02:00

2012-01-15T13:09:00.004+02:00

again

2012-01-15T13:09:00.002+02:00

2012-01-14T22:05:00.000+02:00

Winamp melodrama

2012-01-14T21:26:00.003+02:00

oOoOO
2562Fever
KMSwhithoutyou
BENGADIARYOFANAFOWARRIOR
ZOMBYDEDICATION
PEARSONSOUNRAMADNMAN
RINSE16BenUFO
BEATDIMENSIONSVOL.2COMPILEDBYCINNAMAN&JAYSCARLETT
KAMANLEUNGLACRIMAL
GEIOMISLANDNOISE
MACHINEDRUMROOM(S)
KODE9&THESPACEAPEBLACKSUN

2012-01-12T23:31:00.000+02:00

2012-01-11T23:38:00.001+02:00

2012-01-11T23:37:00.001+02:00

Pete Swanson interview for 06:00am

2012-01-08T18:53:00.001+02:00

06:00am: How are you today?

P.S.: I'm good. It's January 2^nd and I'm in Philaldelphia. It's a great city to celebrate New Years since the real celebration is at the Mummers parade on New Years Day. It's really an incredible and confusing event.

06:00am: Can you describe how your voice sounds like? If I understood correctly, there are some vocals in the work Man With Potential/Man with Garbage but they are not in the front, they kind of blend into the succession of sounds. When you use your voice/or other vocals in your work what is the place they usually have and why?

P.S.: Man With Potential does feature voice sounds, but not mine. There's a few tape loops of fragmented vocal sounds of other people, but it's nothing remotely resembling language going on there. The role these sounds play in the work is to have a more chaotic percussive element and more organic sounds. It's an easy trick to make abstract sounds seem more human.

Man With Garbage does feature my voice, which I think should be fairly obvious if you listen to the tracks again. All of those pieces feature some spontaneous singing. I don't really consider myself to be a fantastic singer, but I've been trying to mix the vocals up in the mix on the tracks that feature them. I've done a few acoustic guitar gigs in the last year or so and people told me that my singing was like Leonard Cohen, which I see as being very kind.

I haven't done any studio albums with vocals for years at this point. I'd like to do an album with prominently featured vocals, but I'm just never satisfied with where the vocals go in the studio, and I've been constantly frustrated by music writers wanting to write about the words as opposed to the sound. I've always used lyrics to shape the narrative of the album and used vocals to enhance the musicality of the work. Ultimately, I consider myself a musician and the voice can fill a needed role from time to time.

06:00am: The title Man With Potential/Man with Garbage could be read as sarcastic but it creates a mind game when seen along with the cover. Every day we get to deal with people and treat them and respond to whatever it is they address to us. How do you act upon relating to another? By seeing people as they appear to be or by seeing them as a set of their potentialities? That is, how do you usually take the time to deal with others? By facing what there is there in front of you at any given moment or by believing that the person in front of you should be considered as a set of her or his possibilities of becoming something else, constantly evolving and changing at any given moment?

P.S.: I've seen a lot of people make very drastic, very positive changes. It's fantastic to be reminded of what people are capable of when they act boldly, but this title is also associated with the negative connotations of that phrase. Essentially, the one with potential is not fully realized as being something established or whole. I've been in a state of transition my whole life and that fact is occasionally troubling.

06:00am: What do you think your music takes away from its listeners? What do you think it can possibly give them back? How do you imagine what your music does to its listeners? I personally get sucked in by it in this situation that is like facing some raw utterly scary but smooth truth of despair and devastation, and as a return to that, I get addicted and want to return to re listen to it and be there again. Which is, I guess, a good after effect. So I experience it as a bad good thing. There are things in this music that you think they suck stuff out of listeners and things that are there to be given back as an overall feeling through this music?

P.S.: I always aim for the music I make to be enveloping and psychedelic. I want the listener to be overwhelmed and immersed in sound. Beyond that, I really have no idea what people will take away from my work. I've been told before that certain records are uplifting, others morose and I appreciate that diversity. There's so much going on in the music that the listener can hear whatever they want to hear in the recording and I believe that complexity is what fans of my work find compelling. I'm not trying to tell anyone how to experience life, but I am interested in posing questions.

06:00am: What is the event that gave rise to you taking a route towards socially engaged work (psychiatric nursing in particular) and what is the event that gave rise to you making music

P.S.: No particular events happened with either. Music was a bit more of an easy sell. I've been obsessed with pretty marginal music since I was 12 or 13 and my interests just become more and more questionable as time goes on.

I got into the whole mental health world as sort of a lesser of evil paths to sustain my music obsession. I got a job working at a home for mentally retarded sex offenders when I was 20 and haven't really looked back since then. I really figured out I loved that sort of work a few years ago while I was working at a transitional housing program for homeless, mentally-ill individuals. I've been working in the field for 10 years now and the work just feels like a good fit at this point.

06:00am: Certain creative procedures are about trying to translate the experience of the landscape. Is your music informed from external stimuli?

P.S.: Yes and no. My music is mainly informed by my own developing process. I've been working on systems for creating music for nearly twenty years and I'm still refining that process. I really consider the sound sources to be secondary to the way the sounds are processed and how they ultimately are presented in the context of the piece. I do often use constraints to determine a sound palette for a specific record that are informed by things I'm experiencing in my life. I have had a lot of friends making techno music in the last several years and I was going out dancing a lot leading up to recording MWP. I also record a lot of incidental sounds when I'm traveling and incorporate a lot of obscured environmental sounds in my work.

06:00am: We noted down some of the words that came up while listening to MWP: boiling down, dust, process, succession, heartbeat, bad beat, wash out, drowning, fluidity, disasters, rain, steam, insistence, anger. When you make music, which words do you use to name your sets of sounds or tracks in your mind, how do you call them to yourself before you complete them and give them a proper title?

P.S.: All of the art and titles I use have come from my life. I just collect odd phrases from conversations, books, movies, etc. Almost all of my artwork comes from trips I've taken or things I've stumbled onto and found compelling in my everyday life. I don't really spend a lot of time considering options. Generally the artwork and names of tracks become clear as all of the elements are collected.. I just sort of keep a list of phrases, potential photos for art and music files around and eventually the pieces all sort of fall together into one cohesive release. I wouldn't say it's entirely random, but I find the overall effect of the interplay of these elements in my work tends to be more interesting when they're less associated with the specific sounds of a specific piece and more about conveying an overall mood/frame of the narrative across the album's overall presentation. I always find people who write about my work are very interested in the language surrounding my work and all I can really say is that I treat the language the same way I treat the music.

06:00am: Can you tell us here again if techno music is an influence for your new album? How would you describe the sound of your music?

P.S.: I've been telling people that I think MWP is an extremely fractured, abstracted take on techno. I've referenced electronic dance music in a lot of my other work, but I think this album is the most heavily influenced by that world. That being said, I don't think this record is a break from my previous work or something that functions as a dance record.

06:00am: Do you like the Swans?

P.S.: I can't believe how rarely people ask me this. When I was 18, I came to New York by myself for the first time. I flew in to Long Island for some reason and took the LIRR in to Brooklyn. I sat down across from a middle aged woman on the train who promptly scoped me out and told me, “You better toughen up real quick or they'll eat you alive in the city.” This trip was when cassette walkmen were still not obsolete and I spent the entire trip walking around Manhattan playing a tape with “Filth” on one side and “Kollaps” by Einsterzende Neubauten on the other. I only really love “Filth” out of the Swans catalog.

06:00am: Have you ever lost your interest for music in general? If yes, why?

P.S.: Not really. Not since I started playing my own music at 14. I get overwhelmed with other demands in my life and I've gone through phases where I feel like I'm in a creative rut, but I'm always thinking about it, listening to it, playing it. It's an obsession of mine that's held for nearly two decades.

06:00am: What is fun for you?

P.S.: I'm pretty slammed with school so the most fun I've been having lately has been playing music. I also like yoga, dancing, sensory deprivation tanks, reading, etc.

06:00am: Which albums have you been listening to the most during 2011?

P.S.: Lately I've been going through everyone else's best of 2011 lists and checking out stuff I missed so.. aside from the stuff on my own list on Boomkat, I've recently become obsessed with Andy Stott, Sandwell District, Graham Lambkin “Amateur Doubles”, Matt Carlson “Particle Language”, Stare Case and I completely spaced on including Peaking Lights “936” since I thought I came out in 2010 for some reason.

06:00am: What is your favorite sound and why?

P.S.: There's a beach that's just about due west from my home town next to the lighthouse at Yaquina Head. The beach doesn't have any sand, but instead has fist-sized, black volcanic rocks that have been smoothed from the surf crashing on them repeatedly. When the sea breaks on the shore, the stones shift and produce this very dense chorus of stones clicking against each other.

06:00am: Tell us something that you have dreamed of.

P.S.: I don't dream. I don't remember my dreams and I don't really fantasize about having a different life other than the one I have.

06:00am: Which is your favorite city in the world and why?

P.S.: I've got a lot of traveling I'd like to get in still, but I've been fortunate to have been able to spend so much time in Portland, Oregon. As a city it's just hard to beat. It's very affordable, there's a ton of beautiful nature nearby, there's lots of great music, etc. I'm also very fond of Antwerp, Barcelona and Marfa, Texas.

Pete Swanson Soundcloud

Type Records

2012-01-08T02:18:00.002+02:00

couldnt be much more from the heart

3

2012-01-07T19:50:00.000+02:00

Ανώνυμου - kakorizikh

2012-01-07T19:39:00.000+02:00

125 sms βρέθηκαν αποθηκευμένα στον φάκελο ενός τηλεφώνου νόκια που αγοράστηκε από κατάστημα στην πλατεία Κάνιγγος .Τα μηνύματα , τα οποία συντάχτηκαν την περίοδο Σεπτεμβρίου 2005 - Σεπτεμβρίου 2006, προορίζονταν όλα για την ιδία γυναίακα.Εχουν γραφτεί σπασμωδικά σε ακάταστατες ώρες και επαναλαμβάνουν εμμονικά το ακριβώς παράπονο.Μέσα από την αλάνθαστη μέθοδο των παραλλαγών , που χαρακτηρίζει την τέχνη απο τις απαρχές της , η ερωτική απογοήτευση , σαν να μην ήταν η ίδια αρκετή , χρωματίζεται από μια γραφή ιδιωματική , η οποία προδίδει έναν επιπλέον πόνο.Τον πόνο της εσωτερικής μετανάστευσης.

Τα μηνύματα αυτά διασώθηκαν , επειδή δεν στάλθηκαν ποτέ.Διέφυγαν της προσοχής του κλεπταποδόχου , επειδή βρίσκοταν στο λίμπο των μη απεσταλμένων μηνυμάτων , που σώζονται
αυτόματα από την συσκευή.Αξίσουν όμως να αντιμετωπίστουν , ακόμα και μέσα στον ενδιάμεσο τόπο όπου ζούσαν , σαν ένα μνημείο του μη εκφερομένου , ένα χυδαιολογικό ορόσημο της ελληνικής καψούρας.

6:14:03 μμ , Παρασκευή 3 Μαρτίου 2006
Dikaiwsh de 8a apodw8ei pote , anarwtiemai?

ΤΟΠΟΒΟΡΟΣ εκδόσεις εξαρχείων

2012-01-07T19:16:00.000+02:00

http://tileskopio.tumblr.com

www.noise-below.org

liz allbee

η liz allbee είναι τρομπετίστρια γεννημένη στην αμερική αλλά ζεί εδώ και λίγα χρόνια στο βερολίνο. ο ήχος της εκτός απο τη χρήση τρομπέτας πειρλαμβάνει και χρήση ηλεκτρονικών, θορύβων, pefrormance, και άλλων μέσων.
της αρέσουν οι συνεργασίες και να πειραματίζεται με είδη αφού έχεί ήδη συνεργαστεί με γκρούπ που καλύπτουν ένα ευρύ φάσμα απο τζάζ και ελεύθερο αυτοσχεδιασμό (jon raskin, rova saxophone quartet), πειραματικό ροκ, θόρυβο, όπως ο ήχος του γκρούπ forced collapse με τον κιθαρίστα chris riggs, περίεργη πόπ, κ.α.
www.lizallbee.net

Μαργαρίτα Κουρτπαρασίδου

Γεννήθηκε το 1981 στην Θεσσαλονίκη. Σπούδασε στο Κρατικό Ωδείο Θεσ/νίκης, στη Μουσική Ακαδημία του Detmold (Γερμανίας) και στο Κονσερβατόριο του ‘Αμστερνταμ (Ολλανδίας). Ήταν Α’ κορυφαία στα τύμπανα στην Κρατική Ορχήστρα Θεσσαλονίκης έως και το 2010, μέλος του Ολλανδικού Συνόλου Πνευστών και του Red Chicken Soup Duo και έχει διατελέσει μέλος της Nordwestdeutsche Philhamonie. Έχει διδάξει στο Νέο Ωδείο Θεσ/νίκης και στο Αριστοτέλειο Πανεπιστήμιο Θεσ/νίκης. Τώρα διδάσκει στο Μουσικό Σχολείου του Αλίμου και στο Ωδείο Εν Οργάνοις.
Ασχολείται πια αποκλειστικά με την αυτοσχεδιαστή πειραματική μουσική και κάνει live processing με ηλεκτρονικούς ήχους.

www.margaritapercussion.com

Natryx
Η Αναστασία Χρυσανθακοπούλου (natryx) ζει και εργάζεται στην Αθήνα ως μουσικός και διοργανώτρια, παραγωγός πολιτιστικών εκδηλώσεων και συναυλιών. Έχει συνεργαστεί και συμπράξει τα τελευταία είκοσι χρόνια με μουσικούς, εικαστικούς και δημιουργούς από το χώρο του Θεάτρου, του Χορού και του Κινηματογράφου. Από το 1998 παίζει τρομπέτα αλλά και ιδιοκατασκευασμένα όργανα και ασχολείται με πειραματική μουσική, ελεύθερο αυτοσχεδιασμό και field recordings.
http://www.myspace.com/natryx

http://www.natryx.net/

2012-01-07T12:53:00.000+02:00

http://www.nottinghamcontemporary.org/art/thomas-demand

repeat

2012-01-03T22:55:00.002+02:00

2012-01-02T23:23:00.002+02:00

2012-01-02T23:03:00.002+02:00

LEAVAILA SCHEME . Kangding Ray from David Letellier on Vimeo.

repost

2012-01-02T23:00:00.002+02:00

WhereNext?

(Sounds) Quarterly #1

Black Time - A Boring Day For The Boredom Boys

Cabaret Voltaire - Protection

The Satyrs - Yesterday’s Hero

Eric Random - Fade In

Front - Polaroid

Powell - The Ongoing Significance Of Steel And Flesh

Delia Derbyshire & Barry Bermange - Falling

Stephen Mallinder - Cool Down

Sandra Electronics - Clean Air

Snowy Red - Sinkin’ Down

Karl O’ Connor and Peter Sutton - Paralyzing

Vatican Shadow - CIA Contractor Freed Over Pakistan Killings

Young Hunting - Embers From The Pyre

Malaria! - Kaltes Klares Wasser

The Vivids - Mt Radiant

Ike Yard - Night After Night

The KVB - In to the Night

Regis - Blinding Horses

Sandwell District - Untitled B

John Maus - The Crucifix

Minny Pops - Secret Story

Throbbing Gristle - Exotica

Avrocar - Maiden 39

In Trance 95 - 21st Century European Temptation

Raime - You Will Lift Your Frame Clear

Throbbing Gristle - United

Sandwell District - Untitled A

HTRK - Slo Glo

Aphex Twin - I

Death in June - Crush My Love

http://wherenext.tumblr.com/post/15111384657

2012-01-02T22:58:00.001+02:00

Thursday 5 / 1 / 2012

(K)NØTmusic presents:
SYNDROMES / YORGIA KARIDI

Friday 6 / 1 / 2012
Preseque Rien & (K)NØTmusic present:
Sudden Infant / Bill Kouligas / Balinese Beast

Friday 13 / 1 / 2012
η λάθος άκρη του τηλεσκόπιου & (K)NØTmusic present:
LIZ ALLBEE / NATRYX / ΜΑΡΓΑΡΙΤΑ ΚΟΥΡΤΠΑΡΑΣΙΔΟΥ

Friday 20 / 1 / 2012
Marionettentheater & (K)NØTmusic present:
JOHN BUTCHER

all of them here http://knotarts.blogspot.com/
some really exciting stuff in that list…

2012-01-02T22:56:00.002+02:00

Superdisque is the first album of the French trio formed byDavid Fenech (electric guitar) with Jac Berrocal (trumpet) and Ghédalia Tazartès (vocals).
Somewhere beyond the borders of rock, jazz, punk and sound poetry...
The vocals seem to come from another planet, with lyrics in an improvised language. The winds are blown from Tibetan human bones and conch seashells. Guitars sound like rubber and steel. Expect the unexpected.

2012-01-02T22:52:00.002+02:00

noise-below & (K)NØTmusic present:

2012-01-02T22:29:00.003+02:00

Syndromes_Πέμπτη 5 Ιανουαρίου 2012_Έναρξη: 21:00_Είσοδος: 5 ευρώ

Syndromes

Syndromes είναι το προσωπικό πρότζεκτ του Κωστή Κηλύμη, μουσικού πειραματιστή, αυτοσχεδιαστή, οργανωτή της organized music from thessaloniki, κ.α. Κάτω από αυτό το όνομα τα τελευταία χρόνια παρουσιάζει την άποψή του πάνω στο ηχητικό feedback, την αυτοσχέδια ηλεκτρονική μουσική και τον εγκεφαλικό θόρυβο. Οι προσπάθειες του έχουν μέχρι στιγμής επικεντρωθεί σε σποραδικές ζωντανές εμφανίσεις και σε ηχογραφημένα δείγματα, όπως αυτό το άλμπουμ του 'temporary perspectives' [organized music from thessaloniki, 2010]. Η δουλειά του πέρα από το πρότζεκτ αυτό επεκτείνεται και σε συνεργασίες -με τους Lucio Capece, Νίκο Βελιώτη, Leif Elggren, Patrick Farmer και Sister Overdrive μεταξύ άλλων- ενώ έχει παρουσιάσει έργο και σε μορφή εγκαταστάσεων, βίντεο, κ.α. Στο χώρο της KNOT θα παρουσιάσει τη λογική συνέχεια της περσινής του εμφάνισης στο Bios Cinematheque, σε συνδυασμό με δείγματα από την επερχόμενη δισκογραφική του δουλειά.

Μαζί του η Γεωργία Καρύδη επανεξετάζει ό,τι γνωρίζει για μερικά γνωστά και λιγότερο γνωστά μουσικά κομμάτια.

Το οπτικό μέρος της περφόρμανς θα επιμεληθεί, με ζωντανό βίντεο projection, η Παρά Λία.

http://syndromesrandomcontent.blogspot.com/

http://soundcloud.com/syndromesuploadcloud

http://thesorg.noise-below.org/2/

http://yorgiakaridi.tumblr.com/

KNOT Gallery

Mιχαλακοπούλου 206 & Πύρρου (εις. από Πύρρου)

πλησιέστερος σταθμός Μετρό: Αμπελόκηποι

Λεωφορεία: Α5, Β5 (στάση ΖΑΓΟΡΑ)

http://knotarts.blogspot.com/

heavy metal

2011-12-31T11:43:00.000+02:00

ωραιος δισκος φιλε

2011-12-30T21:21:00.000+02:00

μαγιω δελφινι

2011-12-30T12:17:00.000+02:00

Χθες το βραδυ οσο ροχαλιζες πριν με παρει ο υπνος στη γνωστη αγαπημενη σταση ρουκετα, ενιωθα τα χερια μου σαν πατημενα ασπρα γαριδακια συσκευασιας και ετρεμα στη σκεψη οτι μπορει να ανεβουν στον εγκεφαλο και να παθω επεισοδιο. Ζηλευω το μπουκωμενο ροχαλητο σου, ζηλευω τη μυξα που κοχλαζει στα ρουθουνια σου ζηλευω και το ξερω πως δεν ειναι σωστο
ζηλευω ναι ζηλευω
ω ποσο ζηλευω
και δεν προκειται να σταματησω να ζηλευω
γιατι ζηλευω

best 2011

2011-12-29T23:13:00.002+02:00

best 2011

2011-12-29T22:49:00.000+02:00

(the 2nd issue of the fanzine ‘the wrong end of the telescope’) 12/2011

constructed under an enthusiasm for fairytales, stories & influenced from various 7″s/LPs of my children’s records collection, ‘weird fairytales’ was born as a farewell edition for the transformation of absurd from chrysallis to a butterfly that then flew to eternity in xanthi last december (2010) but due to the limited time for its construction & release gave me the chance for a new trilogy was given so got hooked on it and the frans de waard / howard stelzer 7″ was issued as its 1st part and now comes the 2nd installment a compilation of fairytales & stories from greece and the rest of the world narrated by michel doneda (france), leif elggren (sweden),sonic catering band (uk), if,bwana (usa), geoff dugan (usa), vague (switzerland) & from greece,sokrates martinis, spyros fengos, dimitri karageorgos, nikos kyriazopoulos, adam_is telling us their beloved fairytales or creating new stories or even transfering stories of places they’ve been and were told in this 2nd part (which will be completed later with fairytales and stories about total destruction, death and rebirth) which is constructed as various of my beloved children’s records one side of which includes the more ‘musical’ part (therefore the sound construction side is the first) whereas the other has the narration (in this case treated voices & sounds plus 2 narration parts). having as cover the photo of a fellow conceptualist of little amaryllis elafrou who was given as a friend from a forest to her sometime ago, printed & designed by mikes adamis.

issue limited to 200 copies.

παράξενα παραμύθια
LP
(ή το δεύτερο τεύχος του fanzine ‘η λάθος άκρη του τηλεσκόπιου’) 12/2011

δημιουργημένο εν μέσω εμμονών με παραμύθια, ιστορίες και επηρεασμένο απο αρκετά βινύλια απο τη συλλογή των παιδικών δίσκων μου τα παράξενα παραμύθια γεννήθηκαν ως αποχαιρετιστήρια ιδέα για το τελευταίο τίναγμα των φτερών του absurd την ώρα που απο χρυσαλλίδα μεταμορφωνόταν σε πεταλούδα στην πόλη της ξάνθης το δεκέμβρη του 2010. λόγω έλλειψης χρόνου δώθηκε μια ευκαιρία για να ξεκινήσω μία τριλογία, αρχή της το 7″ των howard stelzer / frans de waard και τώρα η συνέχεια μια συλλογή με παραμύθια και ιστορίες απο την ελλάδα και τον υπόλοιπο κόσμο με αφηγητές τους michel doneda (γαλλία),sonic catering band (αγγλία), if,bwana (αμερική), geoff dugan (αμερική), vague (ελβετία), leif elggren (σουηδία) & απο ελλάδα τους σωκράτη μαρτίνη, νίκο κυριαζόπουλο, adam_is, σπύρο φέγγο, να αφηγούνται με το δικό τους τρόπο αγαπημένα τους παραμύθια, να εξιστορούν νέες διηγήσεις ή να μεταφέρουν ιστορίες που τους είπαν μέρη στα οποία βρέθηκαν σε αυτό το δεύτερο μέρος (που θα ολοκληρωθεί με ιστορίες και παραμύθια απόλυτης καταστροφής θανάτου και αναγέννησης). στημένη όπως αρκετοί αγαπημένοι μου παιδικοί δίσκοι όπου η μία πλευρά ήταν συνήθως η πιο ‘μουσική’ στην προκειμένη είναι η ηχητική ενώ η άλλη είχε την αφήγηση. στην προκειμένη έχουμε ήχο με φωνή και δύο απλές αφηγήσεις. με φωτογραφία εξωφύλλου ενός συνοδοιπόρου που χάρισε ένα δάσος κάποτε στη μικρή αμαρυλίς ελαφρού και έστησε ο μικές αδάμης αναλαμβάνοντας και την εκτύπωση του.

www.noise-below.org
http://tileskopio.tumblr.com

repost

2011-12-29T21:36:00.002+02:00

http://diskoryxeion.blogspot.com/2011/12/11_29.html

2011-12-29T21:35:00.002+02:00

http://www.kraak.net/upl_ruispdf/ruis-juni2011.pdf

2011-12-28T19:01:00.001+02:00

Untitled from peter sutherland on Vimeo.

link

2011-12-28T18:48:00.001+02:00

2011-12-27T13:16:00.003+02:00

DOUBLE TROUBLE 2 6am mixtapes

2011-12-27T13:00:00.000+02:00

NOISE_I Wish I Was A Mole In The Ground mix LINK

POP_Heroes and Villains mix LINK

tourist

2011-12-26T18:29:00.001+02:00

261211

2011-12-26T15:26:00.000+02:00

http://soundcloud.com/bee_mask

http://bee-mask.tumblr.com/

Elegy for Beach Friday by Bee Mask

LA SITUATION CONGA

2011-12-26T14:38:00.002+02:00

La Situation Conga

To αυτοσχεδιαστικό πείραμα La Situation Conga ξεκίνησε στα τέλη του 2007, με μια σειρά από ανοιχτές πρόβες, ηχογραφήσεις και έντονες συζητήσεις ανάμεσα σε 3-10 άτομα. Την περίοδο 2008-2009 η απρόβλεπτη πορεία της Κόνγκα (καμία απολύτως σχέση με το ομώνυμο όργανο ή χορό) κατέληξε σε αναπάντεχη συναυλιακή δραστηριότητα, με μια σειρά από εμφανίσεις στη Δημοτική Αγορά Κυψέλης, το Κ44, το εκθεσιακό μέγαρο της ΗELEXPO στα πλαίσια της ΑrtAthina 2008, και στο Κinky Kong. Η Kόνγκα δεν ήταν ποτέ συγκρότημα, αλλά ένα θορυβώδες αυτοσυντηρούμενο σχέδιο χωρίς σκοπό, του οποίου τα μέλη, τα όργανα και οι ήχοι εναλλάσσονται κατά περίσταση. Έχοντας διανύσει 3 χρόνια προσωπικής εξέλιξης και άλλων συνεργασιών, οι συμμετέχοντες στο αρχικό πείραμα αποφάσισαν να ξαναδιερευνήσουν τις απολήξεις του δημόσια, αψηφώντας τις συνέπειες.

Μεταξύ άλλων, μέλη της Κόνγκα έχουν κατα καιρούς εμφανιστεί με τα εξής ονόματα/σχήματα: Acte Vide, Άγγελος κυρίου, Βetty Loop Loop, Big Fat Lips, Berlin Brides, Ku, Mono.tone, Mr Cantfind, South Off, Sick Boys Connection, Sister Overdrive, Trashy Chord, 6daEXIt.

KNOT Gallery

Mιχαλακοπούλου 206 & Πύρρου (εις. από Πύρρου)

πλησιέστερος σταθμός Μετρό: Αμπελόκηποι

Λεωφορεία: Α5, Β5 (στάση ΖΑΓΟΡΑ)

http://knotarts.blogspot.com/

Poster:

Γιώργος Τούρλας http://www.flickr.com/photos/georgetourlas/

Γεωργία Καρύδη http://yorgiakaridi.tumblr.com/

ο τακης αφιερωνει στην δημητρα

2011-12-25T13:07:00.000+02:00

2011-12-25T12:59:00.002+02:00

καλα χριστουγεννα και χρονια πολλα

2011-12-22T23:31:00.000+02:00

2011-12-22T23:13:00.002+02:00

50 words for snow/ wild man

2011-12-22T17:11:00.003+02:00

50 Words For Snow - Kate Bush Ft. Stephen Fry from John Vallis on Vimeo.

2011-12-22T00:15:00.002+02:00

ANDRE VIDA 'Brud: Volumes I-III' (PAN 20)

' Brud is a three volume compilation of recordings from 1995 to 2011 by Andre Vida, morphing seamlessly between a sense of total irreverence and the sublime. His spontaneous compositions and notated works are the angled mirrored counterparts of a transient saxophone driven performance language, drawing on elements of 1970s performance art, new music, improvisation cult, folk and pop hybrids, channeling them into asymmetrical tunes of feral beauty.

BRUD traces the development of Vida's wayward language through 16 years of copious ruminations. The three delightfully polymorphic perverse discs unite sparkling solo sax, pieces for cello and woodwind sextet, synth / concrete electronic music, nocturnal improvisations, rare 90's New York free jazz compositions, and the Kreuzberg suite — a distilled culmination of a hundred nights of Berlin mayhem into ecstatic swinging lyricism. Both solo works and as well as various collaborations with Anthony Braxton, Rashad Becker, Axel Dörner, Matt "MV" Valentine, Tim Barnes, Helen Rush, Olaf Rupp, Clare Cooper, Clayton Thomas, Brandon Evans, Elisabeth King, Steve Heather and many more.

Andre Vida is a Hungarian American saxophonist, composer and lyricist living in Berlin. More downtown cheeky grin than mere caveman smile, he is cosmically notorious for continuing the Rahsaan Roland Kirk one man horn section legacy with hydra headed style. He has been at the forefront of several major developments in experimental music, being mainly in Anthony Braxton’s original Ghost Trance Ensemble, as founding member of New York collective the CTIA, subsequent ‘freak folk’ groups such as The Tower Recordings, and his extensive collaborations with electronic music visionaries Jamie Lidell, Tim Exile and Kevin Blechdom, Elton John, Gonzales, Cecil Taylor, Ornette Coleman to name but a few, sewing up some heavy threads in downtown sax patchwork refracted through a Borgesian lens.

The 3xCD is a limited edition of 1000 copies, and is packaged in a pro-press digisleeve jacket which itself is housed in a one-tone silk screened pvc sleeve with artwork by Andre Vida and Bill Kouligas.

the gift

2011-12-22T00:11:00.000+02:00

http://www.facebook.com/BLML.theGift

http://www.mic.gr/cds.asp?id=38305

http://www.cdbaby.com/Artist/BLML

http://www.lotus.gr/record_info.php?ID=25323

ta florika

2011-12-21T23:47:00.000+02:00

2011-12-21T23:27:00.002+02:00

νικος χουλιαρας

2011-12-21T14:32:00.001+02:00

"...υπάρχει ενας σκοτεινός μύθος που δεν αφηγείται κάτι που μπορείς να το γράψεις, είναι σαν ένα πράγμα που κυλάει από κάτω, και που λέει κάτι, όπως στα όνειρα όπου δεν μπορούμε να τα εξηγήσουμε, δεν μπορούμε να τα κατανοήσουμε, άλλα που νιώθουμε ότι είναι πολύ πραγματικά, νιώθουμε ότι μας αφορούν άμεσα. Δηλαδή έτσι, με αυτή τη στάση ζωγραφίζω, δεν ξέρω αν το πετυχαίνω αυτό. …

...αν καταφέρω να βγάλω τα πράγματα που έχω μέσα μου, αυτά που με καθορίζουν είμαι πιο κοντά και στην ουσία τη δική μου, που εν πάση περιπτώσει, είναι και το πιο σημαντικό. Το να είσαι ο εαυτός σου είναι νομίζω σημαντικό πράγμα, γιατί υποτίθεται ότι είσαι ένας σημαντικός, καλός δέκτης, που πιάνεις τα πράγματα που συμβαίνουν γύρω και μπορείς όταν είσαι ειλικρινής να τα μεταδόσεις και στους άλλους και να εισπράξουν πράγματα, που κι αυτοί η ίδιοι κάποτε τα είδαν ή τα βλέπουν έτσι, αλλά δεν τους κάνει κάποιος αυτό το σινιάλο για να καταλάβουν ότι συμβαίνουν όλα αυτά τα πράγματα. Θα μου πεις τι γίνεται μ αυτά; Και τι έγινε μ αυτό το πράμα; Τίποτα δεν έγινε. Είναι μία διαδρομή από μία τρύπα μέσα σε μία άλλη τρύπα, σε ένα σκοτάδι και είναι σα να παίζει μια μουσική. Σα να ακούμε μια μουσική. Όταν ακούς μια μουσική, θα μου πεις τώρα και πάλι, τι έγινε; Τίποτα δεν έγινε. Είναι ένα είδος απελπισίας με μουσική."

http://www.ert-archives.gr/V3/public/main/page-assetview.aspx?tid=0000026810&tsz=0&autostart=0

Cage day

2011-12-21T12:20:00.002+02:00

(K)NØTmusic presents: 0'00'' (John Cage) vs. Putsum_Τετάρτη 21 Δεκεμβρίου 2011_Έναρξη: 21:00_Είσοδος: ελεύθερη

Ακριβώς ένα χρόνο πριν το τέλος του κόσμου και δύο χρόνια μετά τα εγκαίνια της Κnot Gallery, 
οι Αcte Vide (Γιάννης Κοτσώνης και Δανάη Στεφάνου) και ο Θέμελης Γλυνάτσης υλοποιούν για πρώτη φορά 
στην Ελλάδα τη σύνθεση 0'00'' (1962) του John Cage, και ο Μιχάλης Αδάμης παρουσιάζει μια νέα, 
εσχατολογική περφόρμανς στα πλαίσια του γνωστού
 του βλακ μέταλ πρότζεκτ, Putsum.

Έχοντας συνθέσει το περίφημο “σιωπηλό κομμάτι” με τίτλο 4'33” το 1952, δέκα χρόνια αργότερα ο John Cage 
έγραψε το 0'00'' ως συνέχεια. Το κομμάτι αποτελείται από μία μόνο οδηγία. 
“Σε μία συνθήκη μέγιστης δυνατής ενίσχυσης (χωρίς ανάδραση), εκτελέστε μια πειθαρχημένη δράση”. 

Μετά από μία εμβάθυνση στην κουλτούρα της Αφρικάνικης ηπείρου ο PUTSUM πάει βόρεια.
Ίσως το χαρούμενο ψυχρό κλίμα των "χριστουγέννων" τον επηρέασε... (ποιος ξέρει?)
Πάντως η πραγματικότητα είναι πως η μακρά διαμονή του στην καλυμμένη με πάγο Φιλανδία τη χώρα του Αϊ ...
δεν τον άφησε ανεπηρέαστο. Επιστρέφει με μία συναυλία μέσα στο πνεύμα των ημερών και, επηρεασμένος από τις 
δοξασίες των Sammi (Λαπώνων) που είχε φάει στη μάπα, παρουσιάζει μία σαμανιστική τελετουργία γιορτάζοντας 
ακριβώς ένα χρόνο πριν την καταστροφή του κόσμου.

http://acte-vide.blogspot.com/

http://tglynatsis.wordpress.com/

http://www.myspace.com/michailadamis/

KNOT Gallery

Mιχαλακοπούλου 206 & Πύρρου (εις. από Πύρρου)

πλησιέστερος σταθμός Μετρό: Αμπελόκηποι

Λεωφορεία: Α5, Β5 (στάση ΖΑΓΟΡΑ)

http://knotarts.blogspot.com/

χορηγοί επικοινωνίας:

http://culturenow.gr/
http://www.avopolis.gr/
http://www.acidart.gr/
http://www.cooradio.com/

http://www.elculture.gr/

2011-12-20T02:24:00.001+02:00

mr buffalo

2011-12-19T12:08:00.000+02:00

http://mrbuffalo.tumblr.com/

and the sun fills the sky

2011-12-18T02:30:00.001+02:00

in the space where you live

raw

2011-12-17T23:34:00.002+02:00

GROUP INERANE / GUITARS FROM AGADEZ VOL.4
GROUP DOUEH / ZYNA JUAMMA
TAMIKREST / TOUMASTIN / GLITTERHOUSE RECORDS
GROUP DOUEH / GUITAR MUSIC FROM THE WESTERN SAHARA
WALLAHI LE ZEIN / WEZIN,JAKWAR AND GUITAR BOOGIE FROM THE ISLAMIC REBUBLIC OF MAURITANIA
BILL ORCUTT / HOW THE THING SINGS
ISHILAN N-TENERE / GUITAR MUSIC FROM THE WESTERN SAHEL
GHEDALIA TAZARTES / REPAS FROID
GROUP BOMBINO / MUSIC OF NIGER GUITARS FROM AGADEZ VOL.2

Group Inerane: "Tehiteyman" by alteredzones

http://sahelsounds.bandcamp.com/album/ishilan-n-tenere

Ghédalia Tazartès 'Repas Froid I' (PAN 17) by •PAN•

Bill Orcutt: Is Junk Power Absolute?/Bill Orcutt's Lament from The Wire Magazine on Vimeo.

παράξενα παραμύθια

2011-12-17T22:53:00.002+02:00

(the 2nd issue of the fanzine ‘the wrong end of the telescope’) 12/2011

issue limited to 200 copies.

παράξενα παραμύθια
LP
(ή το δεύτερο τεύχος του fanzine ‘η λάθος άκρη του τηλεσκόπιου’) 12/2011

το τεύχος κυκλοφορεί σε 200 αντίτυπα.

http://tileskopio.tumblr.com/

2011-12-13T00:54:00.000+02:00

sahelsounds

2011-12-09T22:35:00.000+02:00

http://sahelsounds.com/

matthew halsall

2011-12-09T20:39:00.001+02:00

colour yes

2011-12-09T20:11:00.002+02:00

2011-12-09T00:10:00.001+02:00

2011-12-08T23:59:00.001+02:00

leh jani

2011-12-08T22:53:00.001+02:00

First release on Sham Palace, a new label from key Sublime Frequencies conspirator Mark Gergis. "Leh Jani" -- the legendary Omar Souleyman track -- was originally released in Syria as a sprawling 30-minute epic groove, alongside two additional tracks. The entire 60-minute cassette album was recorded live to tape in 1998 at the home studio of producer Zuhir Maksi in the village of Ras Al Ain in northeastern Syria. Many of Omar's early tapes were recorded in this fashion to replicate the feeling of his live wedding party performances while minimizing the inherent recording chaos and distractions of those parties. The full track -- featured here, reveals plenty more twists and turns from synth and saz during its hypnotic course. "Leh Jani" appeared in slightly edited form on the original Syrian-issued tape, which was distributed throughout the country for a short period of time. The song was further truncated for Omar's debut Western compilation, Highway To Hassake (SF 031CD) and a concurrently assembled internet video clip of the track helped earn Omar his first attention in the West. The album begins with a lively introduction followed by a majestic mawal, before showcasing the incredible uptempo and previously-unreleased "Salamat Galbi Bidek." All tracks are embellished with the virtuosic folk stylings of longtime collaborators Rizan Sa'id on keyboards and Hamid Souleyman on electric bozouk. This complete version of the original Leh Jani cassette album features an hour of music, and ensures an all-night Syrian dabke party no matter where on Earth you rest the needle.

Φτιάξε τον δικό σου δίσκο βινυλίου repost

2011-12-08T22:48:00.000+02:00

http://www.ough.gr/index.php?mod=articles&op=view&id=288

malevic

2011-12-08T22:46:00.001+02:00

http://tileskopio.tumblr.com/

2011-12-08T22:34:00.000+02:00

Dome, c'est Bruce Gilbert et Graham Lewis, un duo créé suite au chomage technique imposé par la (première !) dissolution du groupe Wire en 1980. Déjà Wire, le groupe, avait une place à part dans l'explosion du punk anglais, projet d'étudiants en école d'art soucieux de profiter de la liberté du moment. Dome va plus loin, effaçant les catégories au profit de l'utilisation du studio dans ses possibilités multiples. Un magnifique document sur un exemple d'inventivité dans la scène alternative des années 80. Les quatre albums du groupe 'Dome' (juillet 1980), 'Dome 2' (octobre 1980), 'Dome 3' (octobre 1981), 'Will You Speak This Word : Dome IV' (mai 1983) + 'Yclept' (1989 - 1999) dans un superbe coffret contenant ces cinq vinyls avec nouveau design de couverture signé David Coppenhall, des reproductions des annonces signées de l'Atelier Koninck des deux premiers albums, un texte d'Howard Jacques et Neil Martinson plus des photos inédites. Et cerise sur la gateau, une boîte d'alumette à l'effigie du groupe. Recommandé et excellent cadeau en cette fin d'année !!!

http://www.metamkine.com/?monnouveaute

Editions Mego are proud to release the complete recorded works of DOME in a deluxe vinyl box set that that also includes newly designed artwork by David Coppenhall, reproductions of the original Atelier Koninck posters that accompanied Dome 1 and Dome 2, insert with sleeve notes by Howard Jacques and Neil Martinson as well as unseen photos from the period. If that wasn't enough it also contains a matchbox to put matches in to shake along to your favourite Dome tune!

With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of “using the studio as a compositional tool” and recorded and released three Dome albums on their own label in the space of 12 months: DOME (July 1980), DOME 2 (October 1980) and DOME 3 (October 1981). A final fourth album, WILL YOU SPEAK THIS WORD: DOME IV was released on the Norwegian Uniton label in May 1983.
These albums represent some of the most beautifuly stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene.

With the re-activation of Wire in 1985 it was thought that all Dome activity had ceased. Whilst no new recordings appeared Dome utilised any spare time to secretly record new pieces. In 1989 dancer/choreographer Michael Clark commissioned them to record a piece for his new ballet ‘Because We Must’. In the same year they also performed live in Rotterdam and Amsterdam.
In 1999 WMO commissioned Dome to record new pieces to accompany the recordings from 1989. This compilation, entitled YCLEPT, would be the final recordings, to date, that Dome have made.
DOME 1-4 appearing on vinyl for the first time in over 30 years, whereas the recordings making up YCLEPT (DOME 5) appear for the first time on vinyl.

http://editionsmego.com/release/DOME12345

The Boy

2011-12-07T11:57:00.000+02:00

THE BOY - WHEN YOU GROW UP YOUR HEART DIES

Music written for the theater production "Luv" staged by Square Team

Artwork by asterigrammeskyklos

Recorded and mixed by Callmelazy

Written,Performed,Produced by The Boy

November 2011.

Dedicated to John Hughes

download link: (320 mp3)
https://rapidshare.com/files/463646765/The_Boy-_When_you_grow_up_your_heart_dies.zip

YOUTUBE LINKS:
FULL ALBUM:

http://www.youtube.com/watch?v=XNe5j0aljF0

01.I GOT TO TAKE A STAND AGAINST HIM

http://www.youtube.com/watch?v=92y5a_G9ULc

02.STROKE MY DICK A BIT

http://www.youtube.com/watch?v=_NRm9h3yWQQ

Mark Fell - Interview for 06:00 am

2011-11-30T13:45:00.005+02:00

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.

Mark Fell homepage

κιρ κορ

2011-11-30T10:53:00.001+02:00

Larry Gus "24 Beats" (July 2011)

2011-11-28T19:18:00.001+02:00

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.

Pick Me, Pick me!

2011-11-23T23:57:00.002+02:00

we need a dreamworld

2011-11-23T14:28:00.000+02:00

these must be the days x2

2011-11-18T14:35:00.002+02:00

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

angeloskyriou.blogspot.com

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)

http://knotarts.blogspot.com/

χορηγοί επικοινωνίας:

http://culturenow.gr/
http://www.avopolis.gr/
http://www.acidart.gr/
http://www.cooradio.com/

http://www.elculture.gr/

2011-11-18T02:13:00.001+02:00

2011-11-18T01:05:00.001+02:00

ελα κι ενωσε τις τελιτσες μαζι μου μωρο μου

2011-11-14T21:38:00.000+02:00

αφρικανα

2011-11-13T22:42:00.000+02:00

2011-11-13T22:24:00.002+02:00

2011-11-13T22:23:00.002+02:00

2011-11-13T22:12:00.001+02:00

2011-11-13T22:11:00.001+02:00

2011-11-13T22:10:00.001+02:00

blue lagoon στο ΕΜΠΡΟΣ προχθες

2011-11-13T14:45:00.000+02:00

voodoo funk - marijata - I walk alone

2011-11-13T14:43:00.002+02:00

re post

2011-11-12T20:24:00.000+02:00

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.

2011-11-12T20:22:00.000+02:00

Re-activation of Embros theatre - Opening Preparation from georgios makkas on Vimeo.

http://kinisimavili.blogspot.com/

2011-11-11T13:50:00.003+02:00

TERANGA BEAT- Guelewar

2011-11-11T13:50:00.000+02:00

Τρελλη δουλεια απο τον Αδαμαντιο!!!

2011-11-09T20:14:00.001+02:00

http://www.tensongsthatsavedyourlife.com/music/sonic-boom

2011-11-07T00:29:00.001+02:00

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

notes 1 & 2 on whateverness

2011-11-06T18:41:00.001+02:00

μαγιο

2011-11-06T13:07:00.001+02:00

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.