30 03 2015
#3846

Big, Bent Ears, Part 3: A Documentary on Nazoranai


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53 minute documentary on NAZORANAI, my trio together with Keiji Haino and Oren Ambarchi. Produced by Rockfishstew and filmed around our performances at Big Ears Festival in Knoxville last year.

WATCH HERE: http://bigbentears.theparisreview.org/bigbentears#chapter-180409

In March 2014, Nazoranai came together for their U.S. premiere, at the Big Ears festival in Knoxville, Tennessee. This documentary, part of the Big, Bent Ears series (bigbentears) on The Paris Reviews, goes behind the scenes, spending time with members Stephen O'Malley, Oren Ambarchi, and Keiji Haino. Produced by Rock Fish Stew (rockfishstew.org)

29 03 2015
#3845

Web Eye Candy Mars 2015


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...

27 03 2015
#3844
27 03 2015
#3843

KTL—Live Archive—Vol 3 cassette now available


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http://deadaccents.bigcartel.com/product/ktllive-archivevol-3

Third in a series of twelve volumes, each in edition of 100 copies. Pro-printed (letterpress covers) pro-duped tapes. 

Text from Dead Accents website:

Third installment of live recordings from KTL. This time two live sets from the UK and France. Letterpressed covers with linocut printed inside. Gold tapes and limited to 100 copies.

There were some delays in the shipping of volume 2. That won't be repeated. Tapes are shipped on Thursdays and Fridays.

25 03 2015
#3841

BUH RECORDS {Sounds Essentials Collection Vol 1 & 2} (Lima, Peru)

BUH RECORDS  {Sounds Essentials Collection Vol 1 & 2}

http://buhrecords.bandcamp.com

BR68 - Miguel Flores - Primitivo (1981)

BR66 - Arturo Ruiz del Pozo - Composiciones Nativas (1978)

25 03 2015
#3840

Ruido Vulgar: Extremos Sonoros en Lima (Trailer)

FICHA TÉCNICA

TÍTULO DE LA PRODUCCIÓN:
Ruido Vulgar/Vulgar Noise 

FICHA TÉCNICA/TECHNICAL DATA
Género/Genre: Documental - 1h 15 m
Año / Year: 2011
Director/Director: Luis Alvarado
Productor/Produced by: Luis Alvarado, Daniela Moscoso, Omar Lavalle, Gloria Artéaga
Guión/Screenplay: Luis Alvarado
Edición/Editing: Gloria Arteaga
Sonido/Sound: Omar Lavalle

SINOPSIS/SYNOPSIS

El documental da una mirada a la historia del noise en Lima, su práctica, espacios de desarrollo y su particular visión de la música en la que salen a flote sus vínculos con el punk y la música contemporánea. La negación de todo principio formal y su relación con el performance son expuestos a través del testimonio de más de 20 artistas y material de archivo nunca antes difundido. Desde sus orígenes a mediados de los 80s con grupos como Atrofia Cerebral, Audición Irritable, Distorsión Desequilibrada. La experimentación de Crisalida Sónica y los grupos de música industrial de mediados de los 90s. Y la actualidad con artistas como Jardín, Christian Galarreta, Paruro, Liquidarlo Celuloide, Cuadrado Negro, así como la variedad de artistas peruanos de noise que vienen haciéndose de un lugar en el circuito internacional, como María Chávez o Animal Machine. El documental cuenta esta historia secreta, siendo el primero en su género en realizarse en Latinoamérica. Pone en evidencia la importancia y consistencia de una escena que ha sabido reflejar el particular modo de ser una ciudad que para muchos es puro ruido.

The documentary gives a panoramic view of the history of Noise in Lima, its practice, its development, and the genre’s particular vision of music, by evidencing its ties to punk and contemporary music. Through the testimony of more than 20 Noise artists and never-released footage, the documentary exposes the genre’s denial of formal musical principles and its relation to performance art.

The documentary covers the genre from its inception in the mid-80s with bands like Atrofia Cerebral, Audición Irritable, Distorsión Desequilibrada, through the experimentation of Crisalda Sónica and the industrial music groups of the mid-90s. The film concludes with chronicling contemporary local artists such as Jardín, Christian Galarreta, Paruro, Liquidarlo Celuloide, Cuadrado Negro and the Peruvian Noise artists establishing a reputation at the international circuits, such as Maria Chavez or Animal Machine.
The documentary recounts this secret history, the first of its kind in Latin America, and highlights the importance and consistency of a scene that has managed to reflect the culture of a city that, for many, is pure noise.

CONTACTO/CONTACT
Empresa productora/Production company: Buh Records & Algodón Producciones
Dirección/Address: Buh Records – Av Angamos Oeste 1520 dpto 31 - San Isidro-Lima-Perú
Teléfono/Phone: (511) 6503921 
Celular/Mobile: 997819862
Email: unautobus@gmail.com
Web: ruidovulgar.blogspot.com/

13 03 2015
#3839

JEAN-CLAUDE ELOY 
« Erkos » (Chant, Louange) concert 28 Mars


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JEAN-CLAUDE ELOY
Samedi 28 Mars, 21h30

« Erkos » (Chant, Louange)
 
interprété par: 
Junko Ueda (Satsuma-Biwa et Chant)
Jean-Claude Eloy (électroacoustique)

Réalisation : WDR Cologne 1990-91
 
Au festival Electr( )cution
Centre d’Art Contemporain « Passerelle »
41 rue Charles Berthelot
29200 BREST 
tel : 02 98 43 34 95

CD disponible chez Metamkine :
<http://www.metamkine.com/?partiste=1&amp;monlabel=1505> 


10 03 2015
#3838

guitars and amps from the Famous Great White Fire Show - $2500 (dallas)


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FROM DALLAS CRAIGSLIST

http://dallas.craigslist.org/dal/msg/4924955086.html

Selling the guitars and amps or what's left of them from the notorious great white show that went up in flames years ago These instruments are not in the best condition but are a small piece of history for all you head banging metal fans. They could be worth a fortune someday when Great White gets inducted into the Rock and Roll Hall of Fame. Just think what Jimi Hendrix guitar or keep Moon's drums would be worth now
  • do NOT contact me with unsolicited services or offers

post id: 4924955086

posted: 
10 03 2015
#3837

WANTED: son directeur/sa directrice de la Fanzinothèque, Potiers

La Confort Moderne in Potiers, France is searching for "son directeur/sa directrice de la Fanzinothèque".

Absolutely unique opportunity.

More info here: http://www.confort-moderne.fr/download/annonce2015.pdf

http://www.confort-moderne.fr

10 03 2015
#3836

ALAN MOORE, THE SHAMAN WIZARD OF OCCULT ART

"There is some confusion as to what magic actually is. I think this can be cleared up if you just look at the very earliest descriptions of magic. 

Magic in its earliest form is often referred to as “the Art”. 

I believe this is completely literal. I believe that magic is art and that art, whether it be writing, music, sculpture, or any other form is literally magic. 

Art is, like magic, the science of manipulating symbols, words, or images, to achieve changes in consciousness. The very language about magic seems to be talking as much about writing or art as it is about supernatural events.  

A grimoire for example, the book of spells is simply a fancy way of saying grammar. Indeed, to cast a spell, is simply to spell, to manipulate words, to change people's consciousness. And I believe that this is why an artist or writer is the closest thing in the contemporary world that you are likely to see to a Shaman. 

I believe that all culture must have arisen from cult. Originally, all of the faucets of our culture, whether they be in the arts or sciences were the province of the Shaman. The fact that in present times, this magical power has degenerated to the level of cheap entertainment and manipulation, is, I think a tragedy. At the moment the people who are using Shamanism and magic to shape our culture are advertisers. 

Rather than try to wake people up, their Shamanism is used as an opiate to tranquilize people, to make people more manipulable. Their magic box of television, and by their magic words, their jingles can cause everyone in the country to be thinking the same words and have the same banal thoughts all at exactly the same moment.  

In all of magic there is an incredibly large linguistic component. The Bardic tradition of magic would place a bard as being much higher and more fearsome than a magician. 

A magician might curse you. That might make your hands lay funny or you might have a child born with a club foot. If a Bard were to place not a curse upon you, but a satire, then that could destroy you. If it was a clever satire, it might not just destroy you in the eyes of your associates; it would destroy you in the eyes of your family. It would destroy you in your own eyes. And if it was a finely worded and clever satire that might survive and be remembered for decades, even centuries. 

Then years after you were dead people still might be reading it and laughing at you and your wretchedness and your absurdity. Writers and people who had command of words were respected and feared as people who manipulated magic. 

In latter times I think that artists and writers have allowed themselves to be sold down the river. They have accepted the prevailing belief that art and writing are merely forms of entertainment. They’re not seen as transformative forces that can change a human being; that can change a society. 

They are seen as simple entertainment; things with which we can fill 20 minutes, half an hour, while we’re waiting to die. It’s not the job of the artist to give the audience what the audience wants. If the audience knew what they needed, then they wouldn’t be the audience. They would be the artists. It is the job of artists to give the audience what they need."

– Alan Moore 

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