31 12 2007
#1726

another np:

Another lovely sounding album on ToE.

31 12 2007
#1725
31 12 2007
#1724

Message from someone who was at the Cube Cinema KTL show

I saw you play The Cube Cinema at the 2007 Venn Festival. Smoke,light and sound created an atmosphere that was at first claustrophobic and oppressive then euphoric. Strangely, my most vivid memory is of a tiny moth that kept flying in front of my face. It seemed that this creature was attracted by the lights on stage but at the same time seemed to be being repelled by the sound waves. I think it was having the moth equivalent of a waking nightmare, trying to run but not being able to move.
I doubt that there is a stage effect in existence that could enhance the 'locked in a cupboard' feeling more than that little moth.

27 12 2007
#1723

SELDON vs ANTWERP

Seldon Hunt will be having a major gallery showing at the Culturecentruum Luchtbal in Antwerp, Belgium on Feb 16 to March 9th. The exhibition will feature new works created entirely for this show, plus a large selection of tour posters and prints will also be on display. The new works are large format giclee prints of extremely detailed modern digital psychedelia. Also shown will be a series of his new diarama nightscape photographs. The show will also feature many personal works created over the years including a large number of experimental screen prints that have never been shown before.

There will also be screenings of selected films and documentaries that he has made over the last few years. More to to be announced on that.

The opening reception is on the 15th of February, and all are welcome to attend.

22 12 2007
#1722
22 12 2007
#1721

ARROW vs KTL

Thanks Daniel M for the pic hahah

22 12 2007
#1720

SONIC ACTS festival

- PRESS RELEASE -

Sonic Acts XII – The Cinematic Experience

21–24 February 2008 Amsterdam
Paradiso, De Balie, Netherlands Media Arts Institute (NMAI)

Sonic Acts XII will be held between 21 and 24 February 2008 in Amsterdam, the Netherlands. This, the twelfth edition is devoted to The Cinematic Experience and incorporates an international conference, a wide range of concerts and performances, an exhibition and a diverse programme of films. The central topic will be how the medium of cinema can be used as a means to make us conscious of our own physical experiences and realities.

The programme will focus on the rich history of the cinematic experience, from magic lanterns, colour organs and zootropes to experience machines and immersive environments. Sonic Acts will also peer into the future. Will cinema distance itself from narrative in the near future? What is the prospect for celluloid? And what role will sensory deprivation play in future cinema?

Conference
The three-day conference will provide a comprehensive overview of the cinematic experience. International experts from the fields of film, visual arts, music, science, literature and art history will reflect on historic developments, the current situation and near-future developments, from the perspective of their respective specialities.

Speakers include Douglas Kahn (lecturer at UCLA and author of Noise, Water, Meat on the history of sonic arts); Erkki Huhtamo (media archaeologist, writer, curator and lecturer at UCLA); Arjen Mulder (writer, translator, media theorist and biologist, author of several publications on media arts and the relationship between technical media, physical experiences and faith, including Understanding Media Theory); Timothy Druckrey (lecturer, curator and author, editor of Ars Electronica: Facing the Future, and author of Culture on the Brink); Mika Taanila (filmmaker and lecturer on video at the Helsinki Academy of Arts, whose films are media-archaeological research into the development of technology as part of our society).

Live Performances
The sound collective The Drone People, formed especially for this event, will present a preview of their project 24 Hour Drone People. The entire piece will be performed just after Sonic Acts at the Stockholm New Music Festival. Inspired by drone gods such as LaMonte Young and Tony Conrad, iDEAL record-label boss Joachim Nordwall has curated an event that will celebrate time, tradition, the future and the past, while simultaneously challenging them all. The Drone People are: CM von Hausswolff, Hildur Ingveldardóttir Gudnadóttir, Stephen O'Malley, BJ Nilsen, Joachim Nordwall, Mika Vainio and C. Spencer Yeh.

Ulf Langheinrich’s new audiovisual performance Drift will be presented for the first time in the Netherlands. A stream of abstract, picturesquely deep and dense images and sounds – transparent and fine in resolution and detail – evolve from a realistic image. A process of multiple metamorphoses in several parallel spaces and time layers constantly transforms their consistency, viscosity and transparency.

In collaboration with GRM (Groupe Recherches Musicales, the French research institute for contemporary music), Sonic Acts will showcase the Acousmonium in the Netherlands for the first time. The Acousmonium, an installation of 80 loudspeakers differing in size and shape, positioned at various heights and distances from each other, create a unique soundscape and feature works by Pierre Schaeffer, Pierre Henry, Michel Chion, Ivo Malec, Bernard Parmegiani, François Bayle and Daniel Teruggi.

Film Programme
The film programme highlights essential building blocks of cinema with the programmes Absolute Frame, Absolute Time and Absolute Sound, featuring films such as The Art of Vision by the master of cinema Stan Brakhage. Brakhage reveals the spectrum of cinematic language in this unique film experience lasting more than four hours. Furthermore, the programme includes the following films: the modern classic Instructions for a Light and Sound Machine by Peter Tscherkassky, The Flicker by Tony Conrad and Battleship Potemkim Dance Edit (120bpm). Weekend by Walter Ruttmann is a unique film without images about a weekend in Berlin in 1929.

The Artist in Focus programme will present among others Mika Taanila and Rose Lowder, who has been working at the intersection of photography and film for the past 30 years. Future Cinema will explore the developments cinema might undergo in the future, with films such as Monochrome Transporter by Thomas Kubli, works by American media artist Cory Archangel and Light Reading(s) by the American sound artist Stephen Vitiello.

Exhibition
The exhibition will be held from 21 February until 22 March 2008 at Netherlands Media Arts Institute (NMAI). It will present works that create various forms of cinematic experience, ranging from music to visual art, installations and media arts. Featured artists include: Julien Maire (F), Ulf Langheinrich (D), Boris Debackere (B), Leerraum (CH) and Kurt Hentschläger (A).

The website for this edition of Sonic Acts, with additional information about the festival, will be operational very soon. Subscription to the newsletter is already possible via: www.sonicacts.com

21 12 2007
#1719
18 12 2007
#1717
17 12 2007
#1716

SUNN live at Caves Lechapelais Paris 12th Dec 2007

Aghartha/Back to the Caves 07

Listen to a 85 minute 192kb mp3 feed here on Radio WNE.

Live review of said such ceremony par Françoise Massacre

J’étais partie à ce énième concert de Sunn franchement sceptique, en me demandant si quelque chose de neuf allait bien pouvoir se produire sous le soleil torve des caves à champignons et gogoths de la rue Lechapelais. La dernière performance parisienne des Drone Lords dans un Point FMR blindé et sans âme avait été une jolie déconvenue, que même les renforts massifs de personnel sur scène n’avaient pas réussi à sauver de la dérive Grand-guignolesque, bien au contraire. A peine réchauffée par le cookie rance avalé sur le chemin, et nous voilà dans la file d’attente des bigots venus assister à la Grand-messe. Pendant les 45 minutes passées à se geler les fesses dehors en attendant l’ouverture des portes, on a largement le temps de remarquer que Sunn O))) draine un public composite de moins en moins chevelu : un journaliste des Inrocks, une moitié de Sister Iodine, quelques vieux visages de l’époque ou l’orga Büro faisait la pluie et le beau temps sur la scène digitale-expérimentale parisienne. Les doomsters assidus se font rares. Mais il faut dire que ce soir, les places aussi étaient rares - jauge limitée oblige - et le sésame concédé seulement aux plus rapides. Tant mieux, les caves Lechapelais semblent être l’endroit idéal pour goûter ou regoûter à la décharge sonique des encapuchonnés : la voûte en vieilles pierres suinte la crasse, le moisi et l’humidité, et mieux, la salle est à échelle parfaitement humaine. La veille, Sunn avait donné un concert au Forum de Londres devant 3000 personnes, une jauge ridiculement démesurée pour un groupe dont tout l’intérêt en live réside dans la ritualisation de la performance, la retenue gestuelle, la propagation des vibrations du son, et qui débarque sur scène éclairé à la bougie.

C’est un bouffon de cour qui ouvre le bal sans y avoir été invité par la double organisation (w-h-y.org et Fiasco System). Un improbable sosie de Stéphane Bern, lunettes 70’s et talonnettes (on se bidonne en se demandant à combien il plafonne sans), chargé comme un permissionnaire, se hisse une première fois sur scène, vasouille que le concert n’aura « malheureusement » pas lieu, ne fait marrer absolument personne, titube, redescend et disparaît une première fois dans les profondeurs obscures de la salle. On aura droit à trois apparitions absolument identiques de Queen Elizabeth avant que Port Radium alias Ludovic Poulet ne se place sur la scène saturée de Model T et d’Ampeg et n’entame son set. On se souvenait d’Autopuzzle, son premier album sorti il y a quelques années par Lionel Fernandez et Erik Minkkinen (Sister Iodine / Discom) dans la confidentialité de leur micro-label Deco et on n’avait plus suivi sa trace depuis un moment. Installation minimale (trois ou quatre cymbales équipées de capteur reliées à un laptop, frappées aux baguettes, balais ou mailloches) pour random electronica minimale, entre Jan Jelinek ou Pan Sonic pour les cliquetis et rythmiques feutrées et Fennesz pour les nappes digitales légèrement stretchées et distordues. On se laisse volontiers embarquer dans le flot des textures changeantes le temps de trois morceaux et on commence à se lasser sur le quatrième.

Après une courte pause, le public se masse devant la scène plongée dans une lumière rouge sang. On savait qu’on aurait droit aux canonnades de fumigènes désormais coutumières des concerts de Sunn, mais ce soir la fumée est épaisse comme la mousse d’une bière brune, plus flippante que le Fog de John Carpenter. Les Grimm Robes noires fendent les premiers rangs et entrent en scène, lentement (très lentement) précédées par le maître de cérémonie (on reconnait le sound man de la dernière tournée avec Earth) qui ouvre la voie avec un chandelier à 6 branches. La fumée se dissipe peu à peu et on commence à entrevoir les visages planqués sous les capuches : Stephen O’Malley et sa Travi$$$ Bean, Greg Anderson cette fois à la basse (on va comprendre notre douleur), le troisième membre permanent Thomas Nieuwenhuizen (God, Beaver) au Moog Taurus II, ce redoutable pédalier cracheur d’infrabasses, Steve Moore, pianiste de Earth, ici au trombone à coulisse, et enfin, Bill Herzog de Jesse Sykes & the Hereafter (et invité sur Altar) à la contrebasse électrique. Moore se lance dans une impro au trombone, mi-Nerfetiti de Miles Davis, mi-trompettes de la mort sur fond de décollage de drone en montée progressive. Le volume est quand même particulièrement à bloc ce soir, mais jusqu’ici, rien de vraiment surprenant. Je suis à deux doigts de me sentir complètement blasée et revenue de tout : c’est ça, drone petit, moi ça me fait rien, ah si, ça me détend… Tu parles Massacre, tu parles. Steve Moore quitte la scène, et cinq minutes plus tard, tout le monde est définitivement calmé, paralysé, soufflé, molesté par la violence inouïe des fréquences basses crachées par les amplis. De mémoire de concert de Sunn, je n’avais encore jamais ressenti une telle puissance de feu. Les vibrations sont difficilement supportables et la douleur physique bien réelle. Cage thoracique ? Ecrasée. Trachée artère ? Comprimée. Tempes ? Pilonnées. Orbites ? Pressurisées. Cloison nasale ? Décollée. Respiration ? Saccadée. Estomac ? On commence à regretter le cookie apéritif. Tympans ? Cette purée, là, à l’intérieur de mes oreilles ? Un type tombe dans les vapes. On pense à O’Malley et Anderson évoquant le massage des intestins par le son jusqu’à la nausée, voire l’ultime défécation. A l’instant présent, ce discours ne relève plus seulement de la pure hypothèse d’école. On pense qu’une guerre des sons est absolument envisageable. On regarde la scène en bois trembler, les pédales aux pieds des musiciens et les cadavres de bières échoués sur scène dériver par petits mouvements saccadés comme des poissons hors de l’eau. Il y a un côté franchement comique aussi, à voir les visages se tordre et se détordre pour essayer de paraître impassibles, les regards en coins, les expressions de malaise et de lutte figée, les corps raidis sous le poids du son. Surtout, on n’attend qu’une chose : la délivrance.

Elle arrive enfin lorsqu’O’Malley lève la main pour signaler le premier changement d’accord. On se détend un peu. Le pire est derrière nous. La suite ne sera qu’une longue et lente descente d’accords jusqu’au dénouement, avec quelques minute octroyées à O’Malley pour une petite partie de larsens, free style, le nez collé à l’ampli. Anderson en profite pour s’allonger de tout son embonpoint sous sa basse encore rugissante, pas trop loin de sa bouteille de Château Bel Air, pas trop loin de son set de pédales. Queen Elizabeth saisit l’occasion du relâchement général pour s’accorder une dernière minute de gloire éthylique sur les planches, secoue chaque bouteille pour bien s’assurer que tous les cadavres sont vides avant de se faire éjecter par O’Malley. Enfin, Steve Moore rallie ses pairs pour un final un peu long après le trauma du quart d’heure précédent.

C’était déjà évident : jamais un disque de Sunn O))) ne rendra compte de l’expérience physique du live. Ce qui l’est encore plus, c’est que la performance ne prend tout son sens que dans des conditions « extra »-ordinaires, comme ce soir, et que ce groupe n’est décidément pas fait pour écumer les vastes scènes et lieux convenus des réseaux rock traditionnels. On espère qu’il en sortira plus souvent.

...and here's some hilarious altavista babelfish translation worthy of Herr Drude himself:

I had left to this énième concert Sunn frankly skeptic, by asking to me whether something of nine were going well to be able to occur under the menacing sun of the cellars with mushrooms and gogoths of the street Lechapelais. The last Parisian performance of the Drone Lords in an armoured Point FMR and without heart had been a pretty disappointment, that even the massive reinforcements of personnel on scene had not succeeded in saving drift Large-guignolesque, quite to the contrary. Hardly heated by the rancid cookie swallowed on the way, and here us are in the queue of the religious bigots come to attend the Large-mass. During the 45 minutes spent to freeze the buttocks outside while waiting for the opening of the doors, there are largely time to notice that Sunn O))) drains a less and less hairy composite public: a journalist of Inrocks, a half of Sister Iodine, some old faces of the time or the orga Büro made the rain and the good weather on the Parisian digital-experimental scene. The assiduous doomsters are done rare. But it should be said that this evening, the places also were rare - limited gauge obliges - and the sesame only conceded with fastest. Such an amount of better, the Lechapelais cellars seems to be the ideal place to taste or regoûter with the sonic discharge of encapuchonnés: the vault in old stones oozes the filth, mildewed and moisture, and better, the room is on perfectly human scale. The day before, Sunn had given a concert to the Forum of London in front of 3000 people, a ridiculously disproportionate gauge for a group of which all the interest into live lies in the ritualisation of the performance, gestural reserve, the propagation of the vibrations of the sound, and who unloads on scene lit with the candle. It is a buffoon of court which opens the ball without y to be invited by the double organization (w-h-y.org and Fiasco System). Improbable double of Stephan Bern, glasses 70' S and heel-pieces (one bidonne while wondering how much it reaches a maximum without), charged like a person on leave, rises first once on scene, vasouille that the concert will not take place "unfortunately" not, does not do to marrer absolutely nobody, staggers, goes down again and disappears first once in the obscure depths from the room. There will be right to three absolutely identical appearances of Queen Elizabeth before Port Radium alias Ludovic Poulet is not placed on the scene saturated with Model T and Ampeg and does not start his set. One remembered Autopuzzle, its first left album a few years ago by Lionel Fernandez and Erik Minkkinen (Sister Iodine/Discom) in the confidentiality of their microphone-label Deco and one had not followed his trace any more since one moment. Minimal installation (three or four cymbals equipped with sensor connected to a laptop, struck with the rods, brushes or mailloches) for random electronica minimal, between Jan Jelinek or Side Sonic for the rattlings and rhythmic felted and Fennesz for the slightly stretchées and distorted digital tablecloths. One readily lets oneself embark in the flood of textures changeantes the time of three pieces and one starts to weary oneself on the fourth. After a short pause, the public masses in front of the scene plunged in a red light blood. It was known that one would have right to the cannonades of smoke-producing from now on usual of the concerts of Sunn, but this evening smoke is thick like the foam of a brown ale, more flippante that Fog of John Carpenter. Grimm Robes black split the first ranks and enter in scene, slowly (very slowly) preceded by the master of ceremonies (one reconnait the sound man of the last round with Earth) who opens the way with a candlestick with 6 branches. Smoke is dissipated little by little and one starts to foresee the faces funkers under the hoods: Stephen O' Malley and its TraviBean, Greg Anderson this time at low (one will include/understand our pain), the third permanent member Thomas Nieuwenhuizen (God, Beaver) with Moog Taurus II, these frightening pedals spitting of infrabasses, Steve Moore, pianist of Earth, here with the Bill, slide trombone, and finally Herzog de Jesse Sykes & the Hereafter (and invited on Altar) with the electric double bass. Moore launches out in a impro to the trombone, semi-Nerfetiti of Miles Davis, semi-trumpets of died on bottom of takeoff of drone in progressive rise. Volume is nevertheless particularly with block this evening, but up to now, nothing really surprising. I am with two fingers to feel me completely blasée and returned from all: it is that, small drone, me that does anything, ah to me if, that slackens me... You speak Massacre, you speak. Steve Moore leaves the scene, and five minutes later, everyone definitively is calmed, paralysed, blown, molesté by the violence of the low frequencies spit by the amplifiers. Of memory in concert of Sunn, I had never yet felt such a fire power. The vibrations are hard to bear and the physical pain good real. Rib cage? Crushed. Trachea artery? Compressed. Temples? Rammed. Orbits? Pressurized. Nasal partition? Taken off. Breathing? Jerked. Stomach? One starts to regret the cookie aperitif. Tympanums? These mashed potaties, there, inside my ears? A type falls into the vapes. One thinks of O' Malley and Anderson evoking the massage of the intestines by the sound to nausea, even the ultimate defecation. At the moment present, this speech does not concern only any more the pure assumption of school. It is thought that a war of the sounds is absolutely possible. One looks at the scene drink some to tremble, the pedals with the feet of the musicians and the beer corpses failed on scene to derive by small movements jerked like fish out of water. There is a frankly comic side also, to see the faces twisting and to untwist themselves to try to appear impassive, the side glances, the expressions of faintness and solidified fight, the bodies stiffened under the weight of the sound. Especially, only one thing is awaited: the delivery. It arrives finally when O' Malley raises the hand to announce the first change of agreement. One slackens a little. The worst is behind us. The continuation will be only one long and slow descent of agreements until the outcome, with a few minute granted O' Malley for a small part of larsens, free style, the nose stuck to the amplifier. Anderson benefits from it to still lengthen of all its plumpness under its low howling, not too far from its bottle of Beautiful Castle Air, not too far from its set of pedals. Queen Elizabeth seizes the occasion of the general relaxation to agree a last minute of ethyl glory on the boards, shakes each bottle for good to make sure that all the corpses are empty before being made eject by O' Malley. Lastly, Steve Moore rejoins its pars for final a little long after the trauma of the previous fifteen minutes. It was already obvious: never a disc of Sunn O))) will not account for the physical experiment of the live one. What is it still more, it is that the performance takes all its direction only under conditions "extra" - ordinary, like this evening, and that this group is definitely not made to foam the vast scenes and agreed places of the traditional networks rock'n'roll. It is hoped that it will leave there more often.

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