Anish Kapoor - ‘descent into limbo’ (Kassel, 1992 )
I am very proud to present the HNW-Q No.8 featuring Romain Perrot also known as Vomir. I discovered his HNW in 2010 during a lengthy period of research for more recent and more radical forms of free form minimalism than those I have already encountered in the works of Giacinto Scelsi, Luigi Nono, Morton Feldman, Pauline Oliveros, Eliane Radigue, Helmut Lachenmann, James Tenney, John Cage, Walter Marchetti, John Cage and LaMonte Young. My desire for reasearch found further support in my deep interest in ascetic and anti-capitalist forms of thinking that I found at least methodologically embodied in the works of Martin Heidegger, Gilles Deleuze, Jacques Derrida, Meister Eckhart, Lao Tse, Dôgen Kigen and the Desert Fathers (from Ancient Egypt to Edmond Jabès) and also in certain forms of Modern Art represented in the works of Ad Reinhardt, Robert Ryman, Donald Judd and Barnett Newman.
Consequently it was only a question of time for me to discover the works of Romain Perrot (in my case "Renonce" and "Proanomie") that should be read and inscribed in these lines of tradition. Let's say - for the sake of simplicity: his works are post-Cage, post-Noise and post-Duchamp. Sadly, this background of HNW was not seen. The result: the HNW-brand was captured, ruined and nearly destroyed almost over night by brainless nerds with UKW-radios and tape-recorders and equally ill-informed self-proclaimed fanboynerds. Or by the countless others that wanted to pump in more content into HNW. How ridiculous, annoying, pointless and totally pathetic ! Nevertheless Vomir's HNW will remain as an immense and ultra-smart entry in the logbook of essential experimental music and noise (comparable maybe to the inventions of Hijokaidan,Incapacitantsor Masami Akita). His HNW is not a petitesse. It is a mature and adult invention: nothing that could have been invented by a teenager. So please keep this in mind, that you have to grow up if you are into negations and negativity, because negations are worthless without (an in depth) knowledge of the negated and affirmations are equally worthless, if they remain unrelated to a well conceived set of negations.(I postpone the writing about Perrot's immense (also still unnoticed) scope of literary allusions that reaches from Hölderlin, Corneille, Céline to Ribemont-Dessaignes and perhaps secretly to Artaud, Bataille, Blanchot and Deleuze).
Yes. Perrot's HNW is radical, but not in the way it was usually perceived. His sounds are radically anti-capitalist, radically anti-communitarian and radically de-capitated. There is no HNW-movement and there will be never one: only disconnected bands of outsiders. His sounds are directed
violently against the unconscious mantra of capitalism to dwell, own, consume and destroy. Perrot is consequently enough to fold this mantra repeatedly back against his own invention until there is nothing left to consume or to assume but absolute nothingness. Épater le bourgeois is no longer his point ! He is turning the usual idea of production and consumption upside down. Perrot produces like an anti-productive and anti-expressive factory or demonic force totally cut-off the market desiring to produce a commodity factor of zero and below. He is producing anti-matter (in all senses of this compositum). He is the non-master of anti-matter, of course, but he is very polite and generous as if
he is whispering silently in the direction of the sounds: après vous ! The "listeners" are deliberately consumed and virtually
destroyed by the sounds. And the sounds remain absolutely indigestible.
This makes them look and
sound under the
capitalist optic at the same time totally useless and absolutely dangerous, because they interrupt und subvert all reasonable ideas of labour and
connected ideas of shareholder value and material surplus value and consumption. (Maybe one could relate this to Georges Bataille's idea of an unrestricted economy and expenditure developed in "La notion de depense"(1933) andlater in"La part maudite" (1949))
Perrot's HNW is outrageous - it atomizes everything - leaving behind only ashes and scars.His sounds are in a very radical sense non-directional, inaudible, indifferent, self-consuming and inexistent. They annihilate the subject of perception. These sounds are neither related to aesthetics nor to aesthetic judgements or systems. They are rather an excess for, or a collapse for the aesthetical
apparatus or the senses themselves. Consequently it is (and should be)
equally impossible to be a-part or to be no-part of the HNW-sound (cf.Bataille's idea of the proletariat as a part of no part). If
you are still able to discern between sound and self you still have an
aesthetic approach to HNW and you are still "listening" ! So even the
formulation "I" listen to HNW is a ridiculous contradiction. Experiencing HNW is impossible and has to be a massive counter-experience. Counter-experiences are keeping the asymmetry alive between my conditions for reception and the anhuman or inhuman nothingness or abyssal otherness that appears to me (here !) as "sound".
Without this radical asymmetry HNW would still be a part of the distractions of the global Kulturindustrie. Any attempt to re-fill HNW with aesthetic contents, intentions, or qualities is not HNW, but popmusic ! Real HNW is anti-aesthetic or better: anti-anti-aesthetic, because it is not related to aesthetical questions at all (e.g. is it loud enough ? is it ugly ? is it nice ? --- these are futile questions asked by idiots !). HNW is virtually in-finite, because it is "beyond" the perceptive horizons and cognitive possibilities of humans. HNW is beyond the programmable duality of expression-impression (cf. the title of his 2012 releaseLe Mur Bruitiste Est Non Programmable, Il A Une Fonction Heuristique: Il Révèle; Il Ne Représente Pas: Il Présente) This "beyond" could even open new channels for "perception" different to the industrialized programs that aim at a total "proletarianization of the sensibility" (Bernard Stiegler). Something of Perrot's deeply seriousanti-anti-aesthetics
embodies herself in the black plastic-bag Perrot wears over his head
during his anti-performances with his back to the audience or simply lying on the floor. Perrot's "style of performance" as-if-already-dead could be deciphered with the help of Blanchot who once wrote: "Penser comme on meurt: sans but, sans pouvoir, sans unité (...) pensée de chaque côtée, en déséquilibre, en excès de sens et en excès sur le sens - sortie, dehors." And one last
remark: only Perrot has the legitimate right to produce serially and
almost automatically (maybe like On Kawara's daily paintings). This is hisidea - he has invented it - and it will remain his idea.
In a way the photo (of an installation by Anish Kapoor) above visualizes Romain Perrot's initial idea: the desire to re-insert or fold-in a dangerous void in our homes and daily surroundings, that's desperately missing. This void is dangerous, because it is extimate (a neologism coined by Lacan) it is an intimate exteriority, an internal exclusion, or a foreign void at the heart of the familiar. If this void would not be something at the same time intimate and extimate - the void would have no interruptive force. The void has to interrupt "la société de contrôle" (a concept developped by Gilles Deleuze following a syntagma by William Burroughs and Michel Foucault's book "Surveiller et punir"). And in a way, Perrot desperately - but joyfully - seeks for nothing else but an absolute and resolute interruption of our daily, always already corrupted and exploited lifes. In a poem that accompanied his 2010 "master"piece "Renonce" we could or should have read:
Quand je me retrouve La solitude Quand tout sont éloignés La solitude pénétrante Je me recroqueville dans le fini Je me fige Mon bruit interne me clarifie Je suis pur
[written by SKG, 21.2.-27.2.2015]
This is the HNW-Q No.8 brilliantly completed
The HNW-Q No. 8
I discovered and invented HNW for myself, when I fully let built the sound I had in my head.
 The initial radicality of HNW would be preserved, if nothing happens.
 HNW is Harsh Noise Wall.
HNW is not to have fun.
 I discovered the acronym H.N.W. on the releases from The Rita's label, Militant Walls.
 HNW is pure love, hate, magick, sex, witchcraft, giallo, nylon, reclusion.
 The sounds of machines are the streets, the futurist's music or from the industrial related culture.
 HNW helps the inner self to be revealed.
 Monolithic Walls are good experimental music.
 The Future of HNW would be no future. The Death of HNW would be in ecstasy.
 HNW should be related to harsh noise to understand it better.
 Singularity and Originality in HNW are none.
 HNW should be called Static Minimalism, because...
 HNW should not be called Static Minimalism, because static does not include necessarily harshness. HNW is no drone.
 The permanent repetition of the HNW-Mantra (No ideas, no change, no dynamics, no development etc.) leads to some rules I did put in my first manifesto. But that was not intended to become rules for the genre. I am no guide.
 Volume in HNW is of some effect.
 Distortion in HNW is a part of it.
 My Unconscious is comfortable in HNW.
 Narratives, Analogies and Metaphors in HNW are some possibilities.
 Time and Space in HNW are some possibilities.
HNW is a possible way to absolute Nothingness.
 My HNW amplifies my mind.
 Minimal Music and Cosmic Drones areother genres of music, and Harsh Noise is the main genre of HNW.
 Conceptualism is the bad word of HNW.
 The main ingredients of brilliant HNW are static harsh noise.
 The purpose and the concept of my HNW are No ideas, no change, no dynamics, no development, in static harsh noise sounds.
 The distinction between ANW / HNW is in the harshness of the noise.
 The philosophy of HNW can change from one to one.
 My first words about HNW were 'static shit'. This is what I called my sounds before I embraced the HNW letters.
 My final words about HNW would be not now.
 The phrase I would like to add to this questionary is....
Label announcement: Since Huntsville was established in 2006, the trio has cut its own distinctive musical diamond with impressive integrity. Each new release from the trio is an event. Now, after over a hundred concerts and with a substantial number of releases behind them, they are more distinctive than ever. Huntsville’s music is the result of collective improvisation, and lies at the musical interface between rock, electronic music, free improvisation and a long list of other genres. Reviewers have described the music as “Morricone-esque dreamscapes” and “Americosmische”, and as an “amalgam of Miles Davis, Steve Reich and early Tortoise.” Huntsville has previously collaborated on concerts and projects with Hanne Hukkelberg, Sidsel Endresen, Wilco’s Nels Cline and Glenn Kotche, and Thurston Moore of Sonic Youth. The trio’s previous release, “Past increasing, future receding”, was recorded in Tomba Emanuelle, a room with exceptional acoustics and a long-lasting echo. The dramatic setting led the band into a darker and more heart-stopping musical landscape than on previous albums. There are still traces of this darker landscape on their fifth album, “Pond”, although this album also showcases new sides of the band. “Pond” is the result of a successful session in the Oslo studio AmperTone with sound engineer Johnny Skalleberg. The album was recorded and mixed in the course of a week, and the band describes the process as very inspiring. Ivar Grydeland plays electric guitar, pedal steel and electronics this time. Ingar Zach has expanded his percussion set-up with timpani, and Tonny Kluften’s distinctive bass playing is given more freedom to stretch out than on the band’s previous albums. Perhaps most striking this time is how clearly the musical personalities of the three different musicians are able to emerge. “Pond” has become a new career highlight from Huntsville. Through four long tracks we encounter a band that is true to its own sound and idiom, but never stands still.
Words are different to sounds in that the images they create are limited. They’re like a two-edged sword – sometimes they can be used effectively, but sometimes they restrict the range of the images employed. When I was young I read Wittengenstein’s “Philosophical Investigations” and that led me to start thinking about the importance of pinning down thought through the medium of language. Escaping into sound because of your own inarticulacy with language, and using sound to express what cannot be expressed in words are two sides of the same equation. – Jojo Hiroshige
"Zum Denken gehört ebenso die Bewegung wie das Stillstellen der Gedanken. Wo das Denken in einer von Spannungen gesättigten Konstellation zum Stillstand kommt, da erscheint das dialektische Bild.
Es ist die Zäsur in der Denkbewegung. Ihre Stelle ist natürlich keine beliebige. Sie ist, mit einem Wort, da zu suchen, wo die Spannung zwischen dialektischen Gegensätzen am größten ist.
Demnach ist der in der materialistischen Geschichts- darstellung konstruierte Gegenstand selber das dia- lektische Bild. Es ist identisch mit dem historischen Gegenstand; es rechtfertigt seine Absprengung aus dem Kontinuum des Geschichtsverlaufs."
I admire this project's robust, highly concrete, material and "fleshy" soundworlds. At the same time they have an almost zen-like-formed-of-nothingness-pureness and harsh beauty with a really well calculated use of found sounds and sound manipulations. The result are really subtle, little, precious and highly concentrated sound-atoms with terrific textures causing time-space-deformations. Sound-Art at its best ! The project's name is perfectly fitting: Sound Awakener ! There is a german poem containing the line "Es schläft ein Lied in allen Dingen" - "There is a song asleep in all things". Please support this awesome project.
Plus Fossil Aerosol Mining Project "Red fades first" (2013) released in X.2014
Plus this fantastic project from Vietnam Sound Awakener "September Traveler" (released in 2015)
These sounds accompany an exhibition of photographies by Irene Cruz in Berlin, Germany(click here for more). I admire this project's robust, highly concrete, material and "fleshy" soundworlds. At the same time they have an almost zen-like-formed-of-nothingness-pureness and harsh beauty with a really well calculated use of found sounds and sound manipulations. The result are really subtle, little, precious and highly concentrated sound-atoms with terrific textures causing time-space-deformations. Sound-Art at its best ! The project's name is perfectly fitting: Sound Awakener ! There is a german poem containing the line "Es schläft ein Lied in allen Dingen" - "There is a song asleep in all things". Please support this awesome project.
I admire this project's robust, highly concrete, material and "fleshy" soundworlds. At the same time they have an almost zen-like-formed-of-nothingness-pureness and harsh beauty with a really well calculated use of found sounds and sound manipulations. The result are really subtle, little, precious and highly concentrated sound-atoms with terrific textures causing time-space-deformations. Sound-Art at its best ! The project's name is perfectly fitting: Sound Awakener ! There is a german poem containing the line "Es schläft ein Lied in allen Dingen" - "There is a song asleep in all things". Please support this awesome project. This is her release "Hidden" (2014)
the sensational third release by The Quash Wagon Reclusion with the smart title "A Room with Tempered Walls" (self-released on bandcamp in February 2015) gave me the opportunity to re-open my sounds reviewed section after a long hiatus. Read the word sounds both as a verb and a noun. Now I will go on reviewing on a more regular basis. In various formats from lengthy reviews to feverish counter-signatures or groovy freestyles. This depends on the record. The following text was written in a free improvisation in real-time while listening - and I kept the raw character of this review. Although it could have been unfolded in a more systematical manner.
record is already one of the best records this year. And I write that
without the shadow (a little insider joke) of a doubt and without a nano-second of hesitation. This record is a lot at once. A
Robert Rauschenberg Metal Sculpture build up as a pile of guitars crashing into each other in realdreamtime. Slomo-Auto-dissecting-"Rock": an Auto-Autopsy of "Rock". A fierce and boiling combination of material-force against the usual material-form - "un système surlinéaire un rhizome au lieu d'un arbre": anaural plane of a generalized "glissando " ("Plan sonore d'un "glissando" généralisée" (cf. Gilles Deleuze, Félix Guattari, Mille Plateaux).
The players: where are they ? Maybe sucked in by the instruments
themselves - playing themselves totally de-humanized, a guitar playing a guitar ! Performing guitarcrashs like carcrashs: a-subjectal sounds !
A dis- and re-entanglement or welding of guitar(sounds), guitar-(k)no/t/d/s and nodes: the shaking of metal sculptures like Harry Bertoia's, but this time weirdo-electrified. As if ONE-SOUND - Guitars-in-Coma; or guitars bend by the curvature in time/space (= a soundspace ?) - or vice
versa time/space being bend by the sheer mass (a sheer hellish miasma)
of guitars, drums etc. Julio Estrada's Pieces for Stringquartet meetIannis Xenakis' percussive glissandi
or both hammering the scales into metal: a re-chording and a turning of
space-time-articulations up-side down. Where do these pieces start: infinity jazz ? These guitars weren't played with hands. They sound
almost automatic like in Nancarrow's Studies for Player Piano.
Maybe these musicians are pulling the strings while hanging on the
ceiling like spidermen (yes a plural, my dear !) or the strings played like a spider’s web - causing vibrating pluriverses like in string-theory. Drums are played like percussive fretboards in the background.
A me(n)tal-machine-music: translating electroacoustics - acousmatics - minimal electronics (Deleuze about the syntheziser) into stochastic
guitarmusic. The morphing of guitarsounds with guitars losing their
identity playing themselves all along like samplers ? What is a guitar, anyway ? For example, sometimes accordion-sounds pop-up and re-morph back into "guitar"-sounds. Been thinking of Morton Feldman's method in his lengthy Stringquartet 2: changing the character of static pitches by introducing new playing techniques or mere repetitions. This is a Dream-Building or a dream building: Kevin's drum(m)s aufgehoben Or Cut(t)s Derek(tly) into Bailey's Quiet North...
Alain Badiou et Quentin Meillassoux dialoguent autour du Coup de dés de
Mallarmé, au Théâtre Toursky, à Marseille. Dernière partie de la
première rencontre de l’Evénement Badiou au cœur de Marseille : "Vers
une discipline des conséquences". Soirée conçue par Alt(r)a Voce dans le
cadre de l'Université populaire, et présentée par Florence Pazzottu.
Plus two interviews with one of the most important composers
Plus the awesome tape-manipulations by Nonhorse (G. Lucas Crane/ Aki Onda) and its fabrication
Plus this soundcloud of Nonhorse
Epic collaboration set between G Lucas Crane and Aki Onda. Double tape
diary unforgotten memory set. Like watching two simultaneous versions of
Krapps Last Tape performed in the unspool room at sony headquarters.
DEEP TAPE COLLAGE. Live performance at The Stone in New York City,
September 9th 2012. Record this track onto a tape and walk around a city
starting at a street fair for full effect.
Plus Alain Badiou "Vers une discipline des conséquences" : théâtre, poésie, philosophie (2014)
"Vers une discipline des conséquences" : théâtre, poésie, philosophie. Première partie de la rencontre du 8 octobre 2014 au théâtre Toursky (soirée d'ouverture de l'Evénement Badiou au coeur de Marseille, conçue par Alt(r)a Voce et animée par Florence Pazzottu dans le cadre de l'Université populaire).