26.6.12
Eli Keszler interview for 06:00 am
06:Tell us about your best visual experience and your best sonic experience?
06: In which neighborhood did you grow up? Can you describe it to us?
06: What was your parent's dream for you?
ek:not on the internet
06: Do you think that by being honest we help to better our lives?
ek:Sometimes – I think that honesty has the potential to also be a very cruel policy and can be very dangerous.
ek:I don’t really know if I’ve had a best visual or sonic experience – but watching large swarms of birds flying is something I find very striking.
06: In which neighborhood did you grow up? Can you describe it to us?
ek:I grew up in Brookline Massachusetts which is a town surrounded by Boston at all ends. My neighborhood was very quiet and was a short walk to Boston proper.
06: What was your father's profession?
ek:My dad sold Physical Therapy Equipment and medical supplies. He was a very serious musician – mostly guitar and was also an illustrator as well.
06: What was your parent's dream for you?
ek:I think my parents wanted me to be happy mainly – but, I was always encouraged to pursue music.
06: When did you write your first song?
ek:I think I was 11 when I first notated a piece of music. But, I remember singing songs when I was 3 or 4 and walking down the street and not understanding why every one of them lined up with the stomping of my feet.
06: What do you jeopardize by writing music?
ek: A lot of my time – I don’t think much else, I can’t really imagine not writing music.
06: How did you came to become an artist/musician?
ek:I grew up in a very artistic home. There was always music and creative stuff going on, so I don’t really think I ever came to music – it just was in my environment.
06: What puts you down?
ek:Cruelty, politics, financial matters, the state of global affairs, the way people treat each other.
06: Do you believe that art is done for others to experience or is it only for those who make it.
ek:I don’t think it is the same for everybody, but I think its safe to say that art is made for the ideas, and entertainment is made for people. I wouldn’t separate the audience from the creator but more make distinctions between the way the material functions.
06: What instruments did you learn to play? Define your music in relation to the word "instrumental".
ek:I learned to play drums and percussion, as well as guitar and piano. I would say my music is instrumental mostly, I’m not really interested in experimental instruments necessarily in my own work, which may seem like a contradiction, since I design installations. The reason I started building massive installations, is that at the scale that these installation are running, they turn from something instrumental into something more environmental.
ek:I learned to play drums and percussion, as well as guitar and piano. I would say my music is instrumental mostly, I’m not really interested in experimental instruments necessarily in my own work, which may seem like a contradiction, since I design installations. The reason I started building massive installations, is that at the scale that these installation are running, they turn from something instrumental into something more environmental.
06: Which is the greatest pleasure in your life?
ek:Laughing, Eating, Being with friends, Music
06: What is your idea of happiness?
ek:I don’t really have an idea of happiness, it seems very individual to me.
06: Do you consider yourself a talented person?
ek:That’s an interesting question – People say that to me, but I feel like I’m constantly fighting against an instinct to do a bad job. I’m not really sure I know what talent is. In a sense it might simply be having an instinct about what works, what doesn't, and what to do next.
06:. Reveal a secret of yours
ek:not on the internet
06: Do you think that by being honest we help to better our lives?
ek:Sometimes – I think that honesty has the potential to also be a very cruel policy and can be very dangerous.
06: What do you think about the current situation of Europe?
ek:I think it’s horrible – It’s the same thing that happened here – the out of control rich ruining basic rights for people because of blatant greed.
06: Do you believe in the concept of revolution?
ek:Yes
ek:Yes
06: Are there people you remember clearly because they made your way easier in life?
ek:Yes
ek:Yes
06: Does negative critique bother you?
ek:Not really – but uninformed and bad criticism does – mainly because uninformed discourse is pretty common
06: What does one loses when she/he grows up?
ek:I don’t think much about this – though a lot of people do force loss upon there own lives. It’s really up to the people who grow up to decide that.
ek:I don’t think much about this – though a lot of people do force loss upon there own lives. It’s really up to the people who grow up to decide that.
Eli Keszler - Photo by Ashley Paul
25.6.12
22.6.12
20.6.12
o bill ξαναχτυπησε
PAL-007 Bill Orcutt c60 cassette
“Why Does Everybody Love Free Music But Nobody Loves Free People?”
Edition of 300.
Sold out at source.
Available from Volcanic Tongue, Fusetron and Mimaroglu.
17.6.12
16.6.12
Robert Turman interview for 06:00 am
06: Do you make a living by making music and art?
RT: No, it would be nice to be able to live by it, but money shouldn't be the motivation.
06: Do you believe that art is done for others to experience or is it only for those who make it.
RT: Both. It can be exciting to create something that pleases me, but it's no good unless you put it out there.
06: Do you record at home?
RT: Yeah, I've always had just very minimal crude equipment, and only really feel comfortable in my own environment. I think it would be fairly stressful to be under pressure of time and engineers in a proper studio, unless there's an unlimited budget.
06: Which movies that you have seen in the past you like the most, and which recent movies do you like? Which directors do you love/admire?
RT: I don't really like talking about 'favorite' things, movies, music, books, etc. It's all very fleeting, I'm influenced by everything, whether I like it or not. If I name something, people think, "oh, he's into this, into that, etc", I like to keep people guessing.
06: Do you believe that knowledge is what motivates the human kind or all of the things that we do not know?
RT: Knowledge is just an illusion, to admit we know nothing is a good starting point.
06: Do you think that the world is changing?
RT: The world is changing but it will always be the same.
06: What do you think about the current situation of Europe?
RT: I miss Europe, I haven't been there in years, is something happening? is it a lot different than 20 years ago? or a lot different than the difference in the U.S. between now and then? I imagine it's about the same.
06: How did you end up writing Flux, 33 years ago?
RT: It was composed using a tape machine, xylophone, crude drum machine, and piano. I had become tired of the barrage of noise at the time, wanting a more pure sound. I usually get a drum or tape machine, or a loop going, and just play an instrument along with it, and see what happens. As with most of my music, I did it to please myself, to have something to listen to.
06: How did your release in Spectrum Spools come about?
RT: There were some old copies of a rare version of Flux that had been stored away for years, and I sold them to Aaron Dilloway at Hanson Records. Aaron wanted to put it out but John Elliott (from Emeralds and Spectrum Spools) got one of those and really wanted to put out the LP and kinda took over the project. There was some confusion for awhile
because the master tape had been sent to England, he managed to get it back and had it expertly mastered by Rachad Becker in Germany.
06: How can a human being find its way in life?
RT: I'm still trying to figure that one out.
06: How do you feel that what you have discovered by practicing/rehearsing can finally become a record?
RT: After all these years, it's still kind of hard to believe. I don't really practice or rehearse anything, I just play what comes to mind.
06: Do you believe in the concept of revolution?
RT: Revolution implies going back to the beginning, although sometimes it might seem necessary, it doesn't do much good.
06: How was the environment that you grew up in? What was your parents occupation?
RT: Very normal, most people can't imagine. My father was a furniture dealer and clockmaker, my mother a homemaker.
06: Are there people you remember clearly because they made your way easier in life?
RT: My parents, I guess, human babies don't do well on their own.
06: What instruments did you learn to play? Define your music in relation to the word "instrumental".
RT: I started playing guitar in the early 60s, but mostly considered myself a bass player, but I'll play just about any instrument to varying degrees. My music is instrumental
in the fact that there are no actual vocals, because it's mostly music and not songs, although I have recorded pop songs.
06: What is your definition of "pop"?
RT: 'Pop' means popular, but I suppose there's been a lot of music I might consider to be pop, that wasn't popular. I've always liked a lot of pop music, and of course, a lot I
haven't liked. I suppose a good definition is something catchy, and a song as opposed to music, and something that can appeal to a lot of people.
06: When did you first get exposed to dub? Can you describe the experience?
RT: Mid to late 70s I guess, discovered reggae, one thing lead to another and started listening to dub music - it was spacier, more sound oriented, but the technique did
influence a lot of my music over the years.
06: Can you send us a picture of you that best describes your current state of mind so that we post it along with your answers?
RT:
15.6.12
muzga
Το ντουέτο των Sancho 003 αποτελείται από τον Φώτη Σιώτα (βιολί, βιόλα, πλήκτρα, φωνή) και τον Κώστα Παντέλη (ηλεκτρική κιθάρα). Παρόλο που και οι δύο είναι γνωστοί για τις συνεργασίες τους με καλλιτέχνες όπως ο Θανάσης Παπακωνσταντίνου, ο Γιάννης Αγγελάκας και ο Σωκράτης Μάλαμας, ο ήχος των Sancho 003 είναι εντελώς ξεχωριστός. Τρία χρόνια μετά την κυκλοφορία του πρώτου album τους (“We Buy Gold”), επιστρέφουν με καινούριο album που έχει τον τίτλο “Muzga”.
Μελωδίες, λούπες, θόρυβοι, ταξίδια χωρίς αποσκευές. Αμέτρητες εικόνες που πλάθει το μυαλό στην προσπάθειά του να αποκρυπτογραφήσει τους ηχητικούς γρίφους, καθώς κατακλύζεται από συνθέσεις που ξεπερνούν τις συμβατικές μουσικές φόρμες και κάνουν τη φαντασία να οργιάζει. Η εμπειρία του “Muzga” μοιάζει με ταινία που αλλάζει συνεχώς σενάριο, ανάλογα με τον ακροατή του.
Έγχορδα, ηλεκτρικές κιθάρες, πετάλια, αυτοσχεδιασμός. 9 κομμάτια χωρίς στίχους, με μοναδική ταυτότητα τα παράξενα ονόματά τους. Η αίσθηση του χρόνου χάνεται και ο χώρος γίνεται όλο και πιο εξωτικός. Άλλωστε ο τίτλος “Muzga”, που λογοπαίζει με τη λέξη Musica, στην τοπική διάλεκτο της ιδιαίτερης πατρίδας του Φώτη Σιώτα, σημαίνει κάτι σαν ζούγκλα (θαμνώδης περιοχή με υπερβολική βλάστηση).
Η συναρπαστική ζούγκλα του “Muzga” γεννήθηκε μέσα από την μουσική των Sancho 003 για δύο παραστάσεις της χορευτικής ομάδας Sinequanon (“To Lose Lautrec” και «Ένα Ακόμα Και Φύγαμε») στο διάστημα 2010-2011. Στη συνέχεια έγινε επεξεργασία και διασκευή του υλικού από τους ίδιους και τα κομμάτια ηχογραφήθηκαν ζωντανά στο περιβόητο Royal Alzheimer Hall Studio, από τον Τίτο Καριωτάκη και τον Χρήστο Χαρμπίλα.
To “Muzga” κυκλοφορεί σε cd από την Inner Ear.
Moritz Von Oswald Trio
Fetch
HONEST JON'S RECORDS
At its darkest and most driving.
The opener cuts deep into jazz, its darting trumpet melodies sinking the impulsive and questing approach of On-The-Corner Miles into the nocturnal longing of Lift To The Scaffold. Dark is a monolithic steppers' in slo-mo, dense and dread. Set to the soft throb of a four-to-the-floor kickdrum, third track Club is the album's explosive heart, twelve minutes of heady Berlin techno; and in finale Yangissa a soft African brass polyphony is spiced with nyabinghi–style drums, deeply dubwise, for fourteen minutes playing out an intrigue between chaos and control.
The group is clear and unanimous — this is their best yet.
The opener cuts deep into jazz, its darting trumpet melodies sinking the impulsive and questing approach of On-The-Corner Miles into the nocturnal longing of Lift To The Scaffold. Dark is a monolithic steppers' in slo-mo, dense and dread. Set to the soft throb of a four-to-the-floor kickdrum, third track Club is the album's explosive heart, twelve minutes of heady Berlin techno; and in finale Yangissa a soft African brass polyphony is spiced with nyabinghi–style drums, deeply dubwise, for fourteen minutes playing out an intrigue between chaos and control.
The group is clear and unanimous — this is their best yet.
ο Στυλιανος ειναι εξαιρετικος περφομερ
ΟΚΙΟΥΠe΄ Εγκατάσταση για μαγνητοταινία και στοματική κοιλότητα
Στο “ΟΚΙΟΥΠe΄” το επίκεντρο δεν είναι η εικόνα, αλλά ο λόγος. Με έμπνευση (σε επίπεδο τίτλου) από τη φωνή του θρυλικού κομπιούτερ Alpha 60 στην ταινία του Γκοντάρ Alphavilleκαι από τη μετάλλαξη (που φθάνει μέχρι την απουσία) του λόγου στη σημερινή έκφανση της ανθρώπινης κοινωνικότητας, ο Στυλιανός Τζιρίτας προσπαθεί να ανιχνεύσει την καινούργια χαρτοπροσωπεία του γραπτού μα και καθημερινού λόγου στη σύγχρονη μητρόπολη.
Μια μπομπίνα όπου μεταφέρονται αρχετυπικά γνωρίσματα της παρακαταθήκης του ανθρώπινου λόγου αναμεταδίδει στο χώρο της εγκατάστασης τη διαχρονική παρουσία του λόγου στην ανθρώπινη ιστορία, μέχρι τη στιγμή που ο δημιουργός του “ΟΚΙΟΥΠe΄” παρεμβάλλεται ανάμεσα στα διάκενα της. Ο Στυλιανός Τζιρίτας στέκεται συνεχώς μεταξύ των θεατών και της μπομπίνας, ως ο διακινητής της.
Ο μετα-Καντιανός λόγος και η χρηστικότητα της μεθοδολογίας του σε σύγχρονες αναζητήσεις, η ανασφάλεια της ομιλίας σε άμεση διασύνδεση με τη ντοπιολαλιά και παράλληλα με την παγκόσμια γλώσσα, τα αναγκαστικά ψαλιδίσματα των λέξεων ως ζοφερή (αλλά σε εσχατική μορφή) σύγχρονη ανάδειξη των γλωσσικών πειραμάτων του Burroughs, οι υποσημειώσεις του συνειδητού αποκεφαλισμού της λεκτικής έκφρασης, συμπλέκονται σε αυτή την performance.
Η στοματική κοιλότητα και η μαγνητοταινία σε άρρηκτα δεμένες και ρυθμολογημένες πορείες.
-
*Μεταξύ των ωρών 8-11 μ.μ. καθημερινώς και στις ημερομηνίες 13/14/15 και 16 Ιουνίου στο Project Room του 6 D.O.G.S.
**Ο Στυλιανός Τζιρίτας, έχει σπουδάσει (και εξασκεί σε όλο το εμβαδό της ημεδαπής) performance (10 διαφορετικές παραστάσεις από το 1997 εώς σήμερα), ηχογραφεί λαρύγγι/κλαρινέτο/κιθάρα από το 1987, συγγράφει μελέτες (ενίοτε), έχει αρθρογραφήσει σε όλα τα μουσικά έντυπα της χώρας, έχει προχωρήσει σε εκδόσεις fanzines & ανεξάρτητων περιοδικών, έχει επιμεληθεί μία ντουζίνα βιβλίων, και διατηρεί την ραδιοφωνική Συχνοτική Συμπεριφορά με τον συνεργάτη του Χάρη Συμβουλίδη επί σειρά 4 ετών στο ραδιόφωνο. Έχει έναν υιό, 37 μαγνητόφωνα και καμιά άλλη περιουσία.
14.6.12
Terre Thaemlitz interview for 06:00am
06: Why do we constantly repeat the same mistakes?
tt: The comfort of familiarity, even if it is the familiarity of a particular discomfort. Or simply not being exposed to alternate behaviors.
06: How did you end up doing what you do and not something else?
tt: Chance.
06: What is your idea of happiness?
tt: Comfortable nudity among others. If you have that, the larger context must be pretty safe - even if only temporarily.
06: In your opinion can money bring happiness?
tt: Well, I assume it can bring a type of physical comfort that is impossible without money.
06: Do you believe that destruction includes the principle of creating?
tt: Change is inevitable. Endings (destruction) and beginnings (creation) are always up to debate, and often depend on whose side you identify with when histories are written.
06: What is the driving force of creativity?
tt: A generic desire for masturbatory release, which is unrelated to any actual desire for "creation."
06: Do we learn from art? Can human be educated through art?
tt: Sure, but it would be a shit education like most others. On the meta-level, what Art has to teach me is generally unrelated to the themes of the works themselves. The lessons of Art which I find valuable have more to do with the connections between cultural systems of representation and domination - lessons which dismantle the value of Art as a cultural tool.
06: Are there people you can say they have influenced you? Is there a specific person that has influenced more that anybody else the way you make music?
tt: Probably Gary Numan.
06: What was your father's profession?
tt: He was a teacher of chemistry, and a professional chemist.
06: Have you understood what was the thing that defined your way of thinking?
tt: Yes, being subjected to constant fag-bashing in my youth.
06: What is beauty for you?
tt: Beauty is a well kept secret. (Sorry, I realize some of these answers really read like a caption to a Peanuts or "Love Is..." cartoon!)
06: Did you read comic books when you where young? Now?
I read off-brand discount comics bought in 10-packs. I also had a nice collection of illustrated versions of "serious" literature - Moby Dick, Frankenstein, etc. Those were my favorite because of the quality of the illustrations. But I have always loved animation more than comic books - Bugs Bunny, etc. As an adult, I still love "alternative" US animation. It's no secret that my favorite TV show of all time is "Dr. Katz, Professional Therapist." I have always despised Disney, as well as Japanese manga and anime.
06: Do you consider yourself to be talented?
tt: No.
06: Where did you grow up?
tt: American Mid-West.
06: Do you think that places influence the way people think?
tt: That question could only be asked innocently through a suspension of belief in the poverty and violence most people in this world are born into.
06: Which book are you currently reading?
tt: Mackie CR-1604 Owner's Manual.
06: Have you made mistakes that helped you learn?
tt: You ask this of someone who has produced multiple albums focussing on the sounds of glitches and crashing software...?
06: Do you believe that people come to life with certain skills?
tt: People do have different physical and mental abilities. But it seems most questions of "innate skill" are secondary by far to the social realities of privilege or lack. For example, a child who had access to a piano may either embrace or reject the instrument - for any number of reasons, social or otherwise. We then tend to build fictions of innate talent around those who excel in things they are socially exposed to ("Little Susie is a natural talent at the piano, unlike her sister Jennie who can't play anything... Susie must get it from her mother, who's father was a violinist..." etc.). However, for most children that initial lack of access makes the entire question of skill irrelevant. In the end, most skills are simply about access, repetition and time - and I feel it's more productive to speak of skills as such.
06: Were you ever politicized?
tt: Are we ever not politicized? But yes, I had a period of traditional political activism during my late teens and early 20's, related to gender rights, sexual rights, reproductive rights, health-care/HIV/AIDS rights, and anti-racism.
06: Do you catch yourself thinking about death?
tt: There should be no shame or surprise in thinking about death.
06: Life gets more interesting with questions or with answers?
tt: Both are constructs, and "interest" is subjective, but "answers" seem to breed domination... so I'll go with "questions."
06: When do you get mad?
tt: When I see people deliberately abuse others.
06: What does one lose when she/he grows up?
tt: Baby teeth and faith.
06: Do you do what you wanted to do in life?
tt: Children do not have enough information or experience to assess what their lives should "become." I imagine most people who do what they wanted to do in life are too static, both socially and mentally... but, yeah, from a certain angle I kinda do.
06: What is the most important thing in your life?
tt: Personal safety. Not in a fanatical way, but I never take it for granted.
06: Can you send us a picture (of you or of something/place) that best illustrates your current state of mind to post along with you answers?
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