Ernesto Laclau died at the age of 78 on April 13, 2014 in Sevilla.
He was a very important theorist and author of the famous books "Hegemony and Socialist Strategy" (1985, together with his wife Chantal Mouffe), "New Reflections on the Revolutions in our time" (1990), "On populist reason" (2005), and what's now became his latest entry "Rhetorical foundations of society"(March 2014). Only yesterday I looked for his forthcoming book "Elusive Universality" (forthcoming 2015) - it's really sad to find out today that he died. Please pay a little homage and read one of his texts today. Or watch the video below - it's a conference about Heidegger, Lacan, Gramsci from 2013 .... [SKG]
Dark Buddha Rising: Dakhmandal 3 x 12" EP / 2CD out on Svart Records on May 24th 2013.
walk the ethereal soil on the banks leading unto the stone tower as
last breath view we would collapse as humanly tissue, overwhelmed by the
final light that seizes us at the end of the world to transform all
living that was unliving the torments as timesands cascaded, unknowing
of the now unveiled source that flow to overcome confines of flesh
particles as seen through the eyes to witness them worldly.
obsessive trait became at an early age from what would seem like
truthfabrics bleeding through the cracks between cellwalls, alive in
vast nothingnesses surrounding scarce specifics of illusional matter
that would float in brightness excesses, ascending to unflinching
gaze-in as quest that became to level the endless plains in sight as
unified with the fluid surfaces of the endoplasmic waves."
released 23 February 2014
In May 2013, Disembraining invited Mattin to Australia to conceive a
series of works addressing the question ‘What is not music?’ The
question refers respectfully to the long-running Australian experimental
festival ‘What is Music?’ reframing it as negation in order to
investigate what sounds remain impossible to assimilate. In other
words, what isn’t music? Mattin responded by creating the 5th edition of his songbook series: an
ongoing work that uses “improvisation as a way or exposing structural
clichés in pop/rock music” and “song structures to demystify the
so-called spontaneity and freedom of improvisation.” Songbook 5 was created according to a strict set of conditions generated
through an obsessively literal reiteration of the number 5. Yet it is
clearly a ‘rock’ record in sound and feeling. As such it may be the most
structurally determined ‘’rock’ album ever. An album that holds a
mirror to rock’s ‘freedom’, celebrating its own mediation.
7-8 May 2013, Melbourne, Australia.
1: 5 musicians record 5 improvised songs of 5 minutes each addressing 5 concepts described in 5x5 word titles
What Isn’t Music After Cage? - Aware Of Its Own Mediation - Stuck In
Our Own Trap - Alienation As An Enabling Condition - The Act Acting On
2: Mattin performs a 25 minute concert with 5x5 minute sections
structured by 5 instructions based on the song titles given to 5 members
of the audience.å
3: Mattin records vocals for the 5 songs in the form of a singing
lecture at the Victorian College of the Arts. The audience only hears
Mattin’s voice (he listens to the backing tracks on headphones).
4: Recordings of parts 1, 2 and 3 are superimposed to create a 25 minute album consisting of 5x5 minute songs.
5: Record released in an edition of 555 copies.
Songbook 5 features contributions from Joel Stern and Alex Cuffe (Sky
Needle), Andrew McLellan (Cured Pink) and the legendary NZ guitarist
Dean Roberts (Thela, White Winged Moth, Autistic Daughters).
"By giving ourselves up to them, I mean getting inside of them to some extent so that we can experience another world. This is not easily explained but more easily experienced.
Of course if one is not willing to give a part of himself to the sound, that is to reach out to the sound, but insists on approaching it in human terms, then he will probably experience little new but instead find only what he already knows defined within the terms which he approached the experience.
But if one can give up a part of himself to the sound, and approach sound as a sound, and enter the world of the sound, then the experience need not to stop there but may be continued much further, and the only limits each individual sets for himself. When we go into the world of sound, it is new."
"Sometimes we produced sounds that lasted over an hour. If it is was loud my ears would often not regain their normal hearing for several hours, and when my hearing slowly did come back it was almost as much a new experience as when I had first begun to hear sound.
Sometimes when I was making a long sound, I began to notice that I was looking at the dancers and the room from the sound instead of hearing the sound from some position in the room. I began to feel the parts and the motions of the sound more, and I began to see how each sound was its own world and that this world was only similar to our world in that we experienced it through our own bodies, that is, in our own terms.
I could see that sounds and all the other things in the world were just as important as human beings and that if we could to some degree give ourselves up to them, the sounds and other things that is, we enjoyed the possibility of learning something new."
"The trouble with most of the music of the past is that man tried to make the sounds do what he wants them to do. If we are really interested in learning sounds instead of trying to force them do things that are mainly pertinent to human existence. If we try to enslave some of the sounds and force them to obey our will, they become useless.
We can learn nothing or little from them because they will simply reflect our own ideas. If, however, we go to the sounds as they exist and try to experience them for what they are - that is, a different kind of existence - then we may be able to learn something new."
Donato Epiro is a young Italian composer. Between 2009 and 2010 He published his compositions on limited CD-Rs and cassettes; finally a selection of these tracks have been put togheter into “Fiume Nero”, his first LP. Intuitions that animate the substance of his other project, the duo organ+percussions Cannibal Movie, have been here explored at a deeper level of investigation, creating a sort of modern library music.
“Fiume Nero” brings together many influeces building a perfect bridge between them. From the Italian composers’ tradition as Egisto Macchi and the more experimental side of Piero Umiliani to the Mediterranean experimental psych music of Battiato, Aktuala, Lino Capra Vaccina. Despite its several references to the past music tradition, Fiume Nero reveals its contemporary vein taking up the importance of the most exciting lessons of modern solo acts: Shackleton ethnic loops elaboration, the wet amospheres of Sun Araw and the Muslimgauze rythm’s structure. "Fiume Nero" leads the listener to feverish excitement caused by climatic and temporal disorientation. You may find yourself dripping with sweat in a canoe, being carried away by the current of a river that seems to pass through a primordial rainforest, surrended by strange plants, creepy animals’sounds, hidden Indios behind the serried and wild vegetation like in the most exciting visions of Herzog’s masterpieces "Fitzcarraldo" and "Aguirre".
"Music" might also be defined as anything one listens to. (...) It's just a little tiny vibrator which is used to run an aquarium filter. I started using this motor because it was conveniently around the house and I knew it sounded pretty good as a constant frequency source.
"There are several ways you can approach it. One is that someone concentrates so heavily upon a given sound - he gives himself over to it to such a degree - that what's happening is the sound. Even though I could be sitting here, all I am is an element of the sound. Another approach is to walk into an area in which the sound is so abundant that you actually are in a physical sound environment. This happens when someone wlaks into one of my concerts."
"I am also very fond of power plants. For instance, the step-down transformer up there on the telephone pole probably contributes to the hum. As the power hits intermediary stages, it has to go through transformations, and hums of various frequencies are generated.
A great deal of electronics and machinery seems to generate series of partials. These partials of many of these series are related to each other as positive integers, and what is interesting is that the partials in the series produced by strings and pipes are also related in this way. When my refridgerator goes on again, or if I happen to turn on my little turtle motor, I can sing a few earlier harmonics for you.
Actually, aside from the sound of groups of insects and natural geographic resonators, sounds of constant ferquency are nor easily found in nature before the mechanization and electronics.
If it is a waterfall, it's a pretty noisy sound, similar to white noise. It is very full - it has so many frequencies in that one tends to hear it as a complex of sounds. Theoretically, white noise has every frequency within a given band although a particular waterfall may or may not have all of these.
One place where we find a contant sound that has been with us for a few thousands years is the drone used in certain musical systems, such as those of India, Scotland, and Spain. The constant sound is also in organum, a form that grew out of chant, used in the nineteenth Catholic Church, in one style of organum various pitches were sustained, and a melody woven over them."