| SUNN vs FRIEZE 1 | 16 10 2006 | |
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| SUNN vs FRIEZE 2 | 16 10 2006 | |
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| SUNN vs FRIEZE 3 | 16 10 2006 | |
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| SUNN vs FRIEZE 4 | 16 10 2006 | |
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| nuclear | 14 10 2006 | |
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| SUNN vs PHOENIX | 14 10 2006 | |
| http://www.flickr.com/photos/caulfield/sets/72157594326089759/show/ | ||
| SLOWER | 14 10 2006 | |
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| 12 10 2006 | ||
| "The rants are here, the funky glamour, the gloriously dysfunctional idealism,
the romantic dystopia, the ambition and the running joke that was made of fame." —Robert Glück NYU Press and The Fales Library at New York University Invite you to celebrate the publication of UP IS UP, BUT SO IS DOWN: New York's Downtown Literary Scene, 1974-1992 Edited by Brandon Stosuy Thursday, October 26, 2006, 6:30 pm Readings by contributors Max Blagg, Maggie Dubris, Thurston Moore, Eileen Myles, and Nick Zedd Book signing and reception to follow The Fales Library Elmer Holmes Bobst Library 70 Washington Square South , 3rd Floor Between Washington Square East and LaGuardia Place Please RSVP to 212-998-2423 | ||
| 07 10 2006 | ||
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| 06 10 2006 | ||
| (vhf#97 Æthenor Deep In Ocean Sunk The Lamp Of Light LP/CD out on vhf in November 2006)
Lineup: Vincent de Roguin Daniel O'Sullivan Stephen O'Malley I have not been performing with Æthenor on stage, only on this recording. Second album being recorded now, of which I will likely be participating in some form. | ||
| Lineups | 06 10 2006 | |
| CELTIC FROST w/ SUNN O))) & GOATWHORE
October 3, 2006 San Francisco, California // Fillmore October 4, 2006 San Diego, California // House of Blues October 5, 2006 Anaheim, California // House of Blues October 7, 2006 Los Angeles, California // House of Blues October 8, 2006 Phoenix, Arizona // Marquee Theater October 9, 2006 Las Vegas, Nevada // House of Blues Lineup: Steve Moore: Trombone, Moog Rogue / Fender 300 watt & Fender 8x10 Attila Csihar: Summoning Mark D: Bottom / 2 x Ampeg 810 & Ampeg preamp/amp setup The Lord: Riffs / 2 x Model T fullstacks SOMA: Tonics / 2 x Model T fullstacks Randall Dunn: Sound Donald McGreavy: Driving, lifter Mike Messina: Merch (except LA show) Eddie Solis: Merch (LA only) Transport: 15 passenger van + Trailer Other: 1 x Pyrofog machine, 1 x Antari Low Lying Fog SUNN O))) vs London, Glasgow and the Motherland October 13, 2006 London (UK) // Hippodrome/Frieze October 15, 2006 Glasgow (UK) // ABC2 October 16, 2006 Belfast (IRE) // Black Box October 17, 2006 Dublin (IRE) // Crawdaddy October 19, 2006 Galway (IRE) // Richards Bar October 20, 2006 Cork (IRE) // Cypress Avenue Lineup: TOS: Psubs / Moog Rogue / 2 x Ampeg 810 & SVT2 Attila Csihar: Summoning Mark D: Bottom / 2 x Ampeg 810 & SVT2 The Lord: Riffs / 2 x Model T fullstacks SOMA: Tonics / 2 x Model T fullstacks JKBroadrick: Black cloud formations / Marshall 800 fullstack Herzog: Foundationals / Upright electric & Ampeg 810 & SVT2, Bowed Gong & cymbals Randall Dunn: Sound Toby Bradshaw: merch slut Andrew Hartwell: merch (London only) Transport: Sprinter van + 5 passenger car/wagon Other: 2 x Pyrofog machines | ||
| KHYLST preorder | 06 10 2006 | |
| FROM HYDRA HEAD:
Starting today we are offering a pre-order on the new Khylst CD, "Chaos is My Name". Pre-order the CD now and have it shipped the week of October 24th. We are also making a limited edition t-shirt also available for purchase. The shirt will only be available until October 9th, at which point we will stop accepting orders for the "CD/Shirt" combo (the CD will continue to be available up to the release date). As usual this is a deluxe shirt, printed on black Apparel Agent brand t-shirts. The shirt was designed in house at Hydra Head by James O'Mara using elements from the CD layout. Invoking an aesthetic amalgam of black echoes, night sweats, and necromancy, Khanate bassist James Plotkin (Phantomsmasher, ex-O.L.D.) and vocalist Runhild Gammelsæter (ex-Sunn O))),Thorr’s Hammer) set forth on a bleak journey beset with incubi, death convulsions, and abject hopelessness. Alternately harsh and beguiling, Chaos Is My Name is like waking up in the basement hospital of Jacob’s Ladder only to realize that the permanently disfiguring abuse you’re about to endure has already taken place. The rest of your brief, excruciating life will be spent as a hideously deformed flesh puppet, flailing helplessly under the high-pitched whine of various torture devices and experimental dental equipment, while seraphim sing in the distance, never once offering you their hand. Track Listing: 1. I (2:44) 2. II (7:50) 3. III (1:45) 4. IV (2:00) 5. V (3:53) 6. VI (7:13) 7. VII (6:16) 8. VIII (4:53) available at www.hydraheadshop.com James has a sample of the material up on his own www.plotkinworks.com Amazing stuff! Gorgeous coverart courtesy of Stephen Kasner. KHYLYST will also be performing November 2 at Sin-E in NYC as part of the CMJ Music Festival | ||
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| 06 10 2006 | ||
|
NY SHOWS: ~Suishou No Fune www.holymountain.com/suishounofune Titan www.teepeerecords.com ~Malkuth. No web presence, just mountains of live presence. TUESDAY OCT 24. Club MIdway, East Village, NY www.clubmidway.com THURSDAY OCT 26. Suishou No Fune www.holymountain.com/suishounofune Magik Markers (!!!!!!!!) www.magikmarkers.com PeeEssEye www.evolvingear.com NORTH SIX, Brooklyn, NY www.northsix.com | ||
| PS1 | 06 10 2006 | |
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| 06 10 2006 | ||
| The Frieze concert is actually the 13th of October, not the 14th as the poster below indicates. | ||
| 05 10 2006 | ||
| LEGACIES OF DISSOLUTION
Terry Atkinson, Eric Bainbridge, Emma Barrow, Casey & McAree, Kev Rice, Miles Thurlow, Neil Zakiewicz COLONY, 85 Spencer Street, Birmingham, B18 6DE 14 October – 12 November 2006 Preview 10 October 6 – 8.30 pm Legacies of Dissolution is an attempt to consider or draw a line under the business of looking at ‘work’. Taking artists who work with materials and object-making as a starting point, the show considers on the one hand the nature of object making and a work’s existence as art-object, be it as metaphor for artistic practices or artists themselves, and on the other, the autonomy of a work within a thematic gathering of works. Building cardboard rooms within rooms in each gallery, with viewing windows out onto each individual work, the show seeks to reinforce some sense of ‘viewing’. Compromising the relative autonomy and individual ‘voice’ that a work may have, this restriction on the viewing experience only reinforces what we suspect may already be true in encountering a work – that of the individual battle for a work to speak for itself upon leaving the studio or place of creation and the imposing set of resources set upon it under a thematic curatorial collation. Too often the idea of a group show is to suggest that there are shared interests – that this valiant curatorial effort is a reflection of artistic groundswell. But what if we are trying to enforce a different set of resources back onto individual works, to see how they stand up? And what if these individual works are too belligerently trying to side-step some sense of the markers of interpretation? Terry Atkinson has said that his Grease Works paintings are a kind of ‘art grunt’, conceived as a kind of low-fi computer robot analogy. One of the main objectives of the grease works are to simply house grease: volatile axle grease that is constantly in a state of material change. The wooden structure of the painting is, in one sense, the ‘hardware’ of art, negated on the other by the ‘software’ of the grease. The work is not just in danger of corroding completely, but has an unfortunate ability to contaminate everything surrounding it. The Grease works have also variously referred to different legacies in art history: Frank Stella greaser, Warhol greaser etc. Eric Bainbridge works in an extensive range of materials - video, bronze, clay, knick-knacks, food, house paint, wax, used furniture and predominantly chipboard. The irreverence of such an approach is balanced by Bainbridge's intuitive engagement with aesthetics. Though we may be presented with work made from discarded kitchen furniture, covered in what looks like chip fat, our eyes are soon drawn to a red plastic edge, or a steel fitting which shimmers exquisitely before a synthetic marble surface. It is in the handling of material, as well as in the material itself, that references might be found to archetypes of modernism or avant garde art, as a fluorescent light might suggest Dan Flavin, or a grey blanket Beuys. Emma Barrow’s sculptures are conceived from the nature of their making. Inherent properties and features are exaggerated with aerosol to corrode and metallically metamorphose found polystyrene forms. Such applications produce uncharacteristic textures and the impression of weight. Whilst abstract in their compositions they assume both architectural and figurative references, as a result the work becomes unstable materialistically, a fragile remnant of a stable object or reference. Casey & McAree negate the easy reading of the exhibition by building a cardboard ‘viewing room’ in each gallery. Constructing a cardboard tunnel between rooms and a gallery-within-a-gallery in each space, Casey & McAree deny the visitor the opportunity to experience the show as installed in the white cube, instead providing ‘windows’ through the cardboard to individual works. A second work on the stairway, a wall piece made of green strip lighting and illuminating the entrance to the exhibition, reads Nach Casey & McAree. The work refers to the publication Nach Kippenberger and its query into how an artists’ legacy is to be preserved after they have died. Casey & McAree ask how their (relatively unknown) artistic careers will be considered even while they are alive. Kev Rice’s sculptural creations toy with formalist structures and art historical references, from Haim Steinbeck to Ian Davenport. For Legacies… Rice will create a wall-based work specifically for the space at Colony. Miles Thurlow often plays with ideas of construction and deconstruction on an architectural, and sometimes more intimate, scale. Thurlow's work is an extension of sculptural practice informed by Minimalism, Arte Povera and everyday life. Thurlow is co-founder of Workplace Gallery in Gateshead. Neil Zakiewicz’s foam sculptures play with subject matters that are close to being sentimental or absurd. Zakiewicz pushes the work into the grey area between classical seriousness and folk art kitsch. The artist pays homage to heroism in art and storytelling in a way that is conditional and self-deprecating, combining the grandiose and heroic tendencies of traditional sculpture with a flexible and impermanent modern material. ----- Preview: Tuesday 10 October 2006 Opening times Saturdays & Sundays 12 to 5 pm or by appointment Contact Mona Casey 07958 077641/ Paul McAree 07870 166640 info@colonygallery.co.uk www.colonygallery.com ------ Show ends Sunday 12 November 2006 ----- Below Image: Miles Thurlow, Untitled (Sculpture), 2005 Courtesy of Workplace Gallery, Gateshead, UK ----- | ||
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| 05 10 2006 | ||
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| badass | 28 09 2006 | |
| http://www.mangenerated.com/gigs/magikalmanac/ | ||
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| SUNN tour shirt 2 | 28 09 2006 | |
| Design via The Mighty & Courageous Seldon Hunt
www.seldonhunt.com | ||
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| ARTHUR NIGHTS | 28 09 2006 | |
| http://www.arthurmag.com
poster artwork by maya hayuk http://www.mayahayuk.com | ||
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| 27 09 2006 | ||
| JUKEBOX BUDDHA review!!
September 13th, 2006 Vital Weekly (from the lovely city of Nijmegen, Netherlands) wins the race for first review of the forthcoming JUKEBOX BUDDHA compilation on Staubgold. Jukebox Buddha JUKEBOX BUDDHA (CD by STAUBGOLD) “Once one Brian Eno discovered the Buddha Machine by FM3 there was no holding back. The Buddha Machine is a small sound box, working on batteries and storing a bunch of lo-fi loops. It was commercially produced by Christiaan Virant (who lives in Beijing for more than twenty years) and Zhang Jhian, both also known as FM3. Once Eno had one, everyone needed one: Blixa Bargeld, Adrian Sherwood, Sunn O))), Sun City Girls and Gundrun Gut. You could fare less well with such a cast of remixers (sadly Eno is not at home here) plus the more usual suspects as Thomas Fehlmann, Robert Henke, Mapstation, Kammerflimmer Kollektief and Alog. In various way the loops stored on the machine are used. Some use purely the loops, while others add other music, such as Sherwood and Doug Wimbish adding rhythm and voices, and on a totally different level Gut does the same. Henke and Es stay with the loops, but adds electronics, to create a finely cluster of drones. Sunn O))) piece sounds similar but highly unlikely their recent barrage of sound. Bargeld produces a bunch of bird calls, oddly enough (and by far the shortest piece here). The other pieces make less clear of statement, but they all sound pretty nice. The limitations of the machine are well expanded by this rather unusual bunch of remixers. And my suggestion to FM3: put that ‘BuddhamachineCommercial’ by Jelinek/Pekler/Leic http://www.fm3buddhamachine.com/site/ http://www.staubgold.com/cgi-bin/staubgold.pl?aktion=start&seite=index_sound | ||
| 26 09 2006 | ||
| Evocation
Exhibition Dates: Oct 13 - Oct 14, 2006 Opening Reception: Oct 13, and 14th - screenings at 7 & 9pm A project by Terence Hannum Featuring Sunn o))) 40000 is pleased to present the premiere of EVOCATION, a new film by artist Terence Hannum featuring the band Sunn 0))). Filmed during a May 2006 performance at Logan Square Auditorium in Chicago, Terence Hannum’s video manipulates and reconstructs the sub-harmonic auditory experience of a Sunn 0))) live performance. The artist creates a stunning visual counterpart to the drone metal band’s sinister vocals and ritualistic study of volume. His film maintains the integrity of the live experience, while enhancing the eerie theatricality Sunn 0))) imposes on the audience. The installation of EVOCATION in the gallery will include a three-channel video with sound and a recent suite of photographs made by the artist. The 23-minute video comprises a liberal edit of Sunn 0)))’s music, soft sweeping pans of the stage, gentle cross dissolves, and a crowd enraptured. Further Hannum documents the physicality of noise reverberating in the band’s equipment, an image that mimics the robe clad band’s color-smoked performance. The results are pulsing and not to be missed. Hannum’s detailed photographs examine inanimate portraits of large amplifiers found on the stages of various punk, post-punk, noise-rock, and metal bands (including Sunn 0))), who take their name from a brand of legendary speaker). These photos, simultaneously obvious and abstract, echo the video EVOCATION as the artist studies the surface where hums and vibrations are reduced to the silences of the amplifier’s gridded boundaries. In both media Hannum connects soundscapes with collaborative live performance, leaving the audience to resonate with a wraith-like sonic aftermath. The Artist Terence Hannum graduated with an MFA in 2004 from the School of the Art Institute of Chicago. Solo exhibitions include the venues Polvo, the Suburban and Gallery 400, all in Chicago. Recent group exhibitions in Chicago include the Beverly Art Center, Western Exhibitions, 40000, and The Guest Room. Outside Chicago group exhibitions include telephonebooth (KA), Commerce Street Warehouse (Houston), and Southern Exposure (San Francisco). Terence is also a member of the Chicago bands Unlucky Atlas and Locrian and is currently a visiting artist at Columbia College, Chicago. For more information about the artist please visit: www.terencehannum.com. http://www.gallery40000.com/future.php * The gallery will be open during regular hours, 11-6pm on the 13th & 14th | ||
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| New Born Orthodox | 26 09 2006 | |
| Meet Eva, she's a beauty. Congrats to the Orthofamily! | ||
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| 25 09 2006 | ||
| -stephen...
ohhhhh. ok. i do a radio show podcast. it's monthly. the idea is that each episode is based upon a theme, whereupon i try and do a mix that i feel matches the mood - the result is a (hopefully) aesthetically pleasing wide range of musics. there is a large focus on experimental audio and field recordings. in addition to the radio show, i also have the field recording project, for which you gave me that recording. but yes, sunn is in the latest episode (trek/ceremony) and i rather like what i paired you kids up with. you can find each episode at www.roadsidepicnic.com i tend to like the later episodes a bit more, if only because they're more abstract, and especially because i barely talk. i was a bit overly chatty in the earlier ones. make sense? cheers, -joshua... | ||