".... sound is round, but when we hear it, it seems to have only two dimensions: pitch and duration. The third dimension, depth, is here, but somehow, though we know it, it escapes us. The upper and lower (less audible) harmonics sometimes give us the impression of a vaster, more complex sound beyond duration and pitch, but it is difficult for us to perceive its complexity.
And how is one to note it musically ? In painting, there is of course perspective, which gives the impression of depth, but in music we have still not been able to free ourselves from the two dimensions of pitch and duration, despite all the experiments with stereophony and so forth; and we have not yet succeeded in creating an impression of sound's real spherical dimension."
- Giacinto Scelsi
One of the best releases this year La Morte Young
is out now on tape on Ba Da Bing in a limited edition of 150 ! Please - act fast to get this gem !
Nothing Changes No One Can Change Anything, I Am Ever-Changing Only You Can Change Yourself
Recorded at Hōsei University, Tokyo, April 26, 1996
No band on Earth has ever sounded like Fushitsusha. Sure, there are
antecedents to their mind-scraping, soul-searing roar: Blue Cheer’s in
there, as is Hendrix circa 1970, when he’d given up the showmanship of
1967 and ’68 and aimed himself straight at the heart of the music, but
nobody ever exploded the rock power trio form the way Keiji Haino,
Yasushi Ozawa and Jun Kosugi did. Clad in black, impassive and stoic,
the bassist and drummer built seemingly rickety scaffoldings of rhythm
that were revealed to be as powerful as suspension bridges once Haino
ascended, guitar in hand, to unleash storms of raw sound on unprepared
(for who could ever be prepared for an experience like this?) audiences
in Japan and, eventually, Europe and America. Though their music was
improvised, it was never aimless; Haino was merely demonstrating that
when one’s goal is purity, the path to it is constantly shifting. Pieces
might be three minutes long, or 75. They might be built around
headlong, nearly punk-rock riffing, or seem to come together with
near-imperceptible slowness, like clouds of mist rising from the earth.
They could be furious, explosive, or crushingly sad.
Though Haino has been a willing – even eager – collaborator with many
players from diverse backgrounds over the years, very few performers
could match Fushitsusha’s energy. Indeed, perhaps the only man capable
of withstanding the force of the group in full cry would be German
saxophonist Peter Brötzmann, who joins the trio on this three-disc,
three-hour document of a single epic concert, recorded at Tokyo’s Hōsei
University on April 26, 1996. Brötzmann and Haino have recorded together
several times over the years – the same week this concert was held, the
duo album Evolving Blush and Driving Original Sin was tracked, and the
pair teamed up with drummer Charles Hayward for his album Double
Agent(s): Live in Japan Volume Two. But Nothing Changes No One Can
Change Anything, I Am Ever-Changing Only You Can Change Yourself is
unique in both the Fushitsusha and Brötzmann discographies. The trio
have never sounded the way they do here – beginning Disc One with long,
ritualistic passages of solo drums and nearly unaccompanied bass;
chanting and howling in a guttural, almost pre-linguistic manner behind
the saxophonist as Kosugi seems to try to smash his kit to bits, at the
midpoint of Disc Two; hammering home a blues riff reminiscent of the
Plastic Ono Band circa Live Peace in Toronto on Disc Three, and bringing
the whole thing to a close with a four-way noise/garage-rock raveup in
the final three minutes of the performance.
There are many Fushitsusha live albums – Live and Live II, the two
double-disc sets on PSF that first brought the group to global
underground godhood; Gold Blood; Withdrawe, This Sable Disclosure Ere
Devot’d; The Wound That Was Given Birth To Must Be Greater Than The
Wound That Gave Birth; I Saw It! That Which Before I Could Only Sense;
and more. Each captures a crucial moment or moments from a unique and
ongoing musical journey. But Nothing Changes No One Can Change
Anything, I Am Ever-Changing Only You Can Change Yourself may be the
heaviest, the most overpowering, and at times the most beautiful of them
all. This performance has been legendary in Haino fan circles since it
happened, 18 years ago. At last, it has been released for all those who
weren’t there to experience for themselves.
Nothing Changes No One Can Change Anything, I Am Ever-Changing Only
You Can Change Yourself comes wrapped in a folded outer sleeve with art
by painter Denis Forkas Kostromitin; the discs housed in black paper
envelopes inside a black engraved folder. A reproduction of the original
flyer advertising the performance is also enclosed. The audio has been
mastered by James Plotkin, and the tri-fold booklet includes liner notes
by Alan Cummings.
3CD limited to 1000 copies
If you still don't call it your own - purchase it now !
Cerisy-La-Salle 1997 (Vidéo originale de Monique Stobienia)
[Video 1] L'animal que donc je suis : Première partie de la conférence de Jacques Derrida [Video 2] L'animal que donc je suis : Deuxième partie de la conférence de Jacques Derrida Colloque dirigé par Marie-Louise Mallet à Cerisy-la-Salle du 11 au 21 juillet 1997. (15 juillet 1997)
The important japanese "Concept-Artist"
On Kawara died on Thursday 7/10/2014. Please keep the memory of him alive !
"marlene" music : keiji haino choreography and direction : elie hay designer : alberica giulia producer : taka arakawa(babylon) stylist : demi demu show director : tatsuhiko kataoka(bon) pr : shogo yanagi(fake showroom) make up : ken for mac hair : tony & guy
: gimico, norihito ishii, hana magdala, satomi ohkuma, kirico nakamura,
airi suzuki, yuzu takei, lilliyo tsuji, rebecca u
Please risk one ear or two for this fantastic project from Australia - hear beauty, eternity, infinity, loss, sadness and disappearance coalesce into shimmering microtextures. Simply adorable ! A perfect audio-portrait of a "bird trap" - it must be really infinitely and eternally sad to be a "bird trap" - waiting for a bird to come, maybe a lifetime. Interesting and highly original stuff. Watch out for the full LP coming mid July 2014 ....[SKG]
May 28th launches the Bird Traps pre-released track Religious Knife from the forthcoming album The Colour Fields, exploring unfolding abstraction and minimalist arrangements.
Marcus Skinner: Guitars, Organs, Field Recordings Sophie Kinston: Violin Josh Stilwell: Viola Peter Head: Cello Patrick Hatch: Double Bass
Composed by Marcus Skinner Mixed and Mastered by Jonathan Echo at Phaedra Studios, 2013/14
The full Bird Traps album The Colour Fields is due mid 2014. Sonic meditations and hazy late-night minimalism
Photograph by Rowan Williams credits released 28 May 2014
Please check this brand new Minóy book, cd, cassette release out on punctum books, brooklyn, ny - date: 6/30/2014
excerpt-text from the punctum webpage:
Minóy is a rescue operation with several life rafts. Minóy-the-book provides an introduction and overview to the important noise music artist Minóy — the pseudonym of American electronic art musician and sound artist Stanley Keith Bowsza (1951-2010). Minóy’s audio compositions, often conjuring up an enigmatic world of almost dreadful depth, earned him a key position in the homemade independent cassette culture scene of the 1980s.
Minóy-the-CD+cassette+mp3s (available HERE) makes available nine of Minóy’s audio compositions that span the years 1985 to 1993. These were drawn from recently discovered archival material and selected by the editor and artistic director of the project, Joseph Nechvatal, in collaboration with composer Phillip B. Klingler (PBK). Klingler (co-producer and sound engineer) houses the Minóy archive and has re-mastered the tracks, most of which have never been heard before (it was thought that Minóy stopped recording in 1992).
Minóy-the-book contains two written monograms of Minóy, one by close friend Amber Sabri and one by artist and art theoretician Joseph Nechvatal. There are three additional essays by Nechvatal, the first of which, “The Obscurity of Minóy,” recounts the history of the recovery of the audio material from obscurity. In the subsequent essays (“The Aesthetics of an Obscure Monster Sacré” and “Hyper Noise Aesthetics”), Nechvatal reflects on the artistic benefits of obscurity and situates Minóy’s deep droning palimpsest soundscapes within an original aesthetic-theoretical context of an obscure monster sacré, and also examines Minóy’s legacy in terms of current aesthetic responses to the surveillance state, couching Minóy’s mysterious and excessive compositions in terms of a general art of noise.
In total, Minóy’s work undergoes a critical intricacy in terms of a contemporary art practice engaged in the fragile balance between production of, and resistance to, perceptibility. Nechvatal brings a subversive reading to Minóy’s work by presenting it as a form of hyper-noise artistic gazing, based in the flipping of figure and ground. The book also contains sixty black and white portrait images from the Minóy as Haint as King Lear series that photographer Maya Eidolon (Amber Sabri) created before his death in collaboration with Minóy (then known as Haint) and Stuart Hass (Minóy’s lifetime partner). [copyright: punctum books 2014]
"The critical thrust of Rousseau's theory of language in the Second Discourse and in the Essay undermines this model. In these texts, the discussion of denomination as the primal linguistic function in fact puts into question the status of referential language. It becomes an aberrant trope that conceals the radical figurality of language behind the illusion that it can properly mean.
As a result, the assumption of readability, which is itself constitutive of language, cannot only no longer be taken for granted but is found to be aberrant.There can be no writing without reading, but all readings are in error because they assume their own readability. Everything written has to be read and every reading is susceptible of logical verification, but the logic that establishes the need for verification is itself unverifiable and therefore unfounded in its claim to truth."