Talkie Walkies
Deck lights up a cigarette but Paige snatches it before he could puff some. She is making smoke rings now. They decided to walk smoking and passing the last cigarrette like a stick of marijuana. A nice day for walking. The sun was hiding behind the clouds. Warm but shady. Breezy but no drizzle.
"Look.” “The Love Bus!" Paige yelled over the street noise.
" Should be in the junk yard by now".
"Are you sure it‘s The Love Bus?"
"I'm fucking sure."
”You never ride buses.”
“I do.” “It’s fucking therapeutic.” “Seeing someone driving in the same fucking road every day.” “He’s more fucked up that I.”
“So you get off on that.” Deckard trying to look surprised
“I guess” “And the people who ride on it. Same street. Same route. Same highway. 24/7. Now that’s even more fucked up.” Paige with eyes rolling up.
“Yeah. Fucking Love Bus.” ‘Sponsored by Trojan magnums’ Deckard deadpans.
‘Fucking Pervert”. Magnums?. You? More like BBs.’ Paige trying to match Deckard’s sarcasm.
“The fucking Love Bus.’
“Fucking Love Bus.”
“How about The Love Train?”
“Won’t work. Too crowded.
The Perv Train is more like it.”
“Nah. Too embarrassing. “Remember the train ride October last year?” Somehow Deckard regretted he said that.
“Fucking hell. Don’t start this shit.” Paige looking away.
‘Sorry, unintentional. It’s more of a previous chapter for me so it’s fucking nothing. Really.”
‘Sorry, I’m a bit shakin’ up.”
“By the Perv train story? Deckard trying to lighten the mood.
“No, something else.’
“It’s obvious.’ He said softly
“What?”
‘It’s obvious. You’re shakin’. Looking in her eyes.
“I dunno. Need some smokes.” Paige looking away.
“Here.”
“Thanks.’
“You want to talk about it?”
“In time. I’ll be in El- Lay on Thursday. Catch a gig. Got some tickets and the grant has been approved. Have to at least show up.’
“Nic Endo?”
“Yeah. Endo.”
“Don’t want to talk about the grant. It makes me feel “Intellectually Snotty.” I kind of like the feeling. I get off showing it off to hapless friends.”
“We’ll you are snotty, snobbish, bitchy and….”
“And you fucking love it.”
Tuesday, 17 August 2010
Nic Endo
Nic Endo (born January 7, 1976) is a Japanese-German-American noise musician who played with the German digital hardcore group Atari Teenage Riot. The daughter of a Japanese mother and a German father, Endo was born in Texas, US.
She lived in Frankfurt from 1994 to 1996 and later moved to Berlin.
Nic Endo joined ATR while they were on tour in 1997 and was involved with the production of their final album 60 Second Wipe Out.
After ATR effectively broke-up in 2000, Endo released an experimental solo album entitled Cold Metal Perfection. Released by Fatal Recordings, an explicitly feminist offshoot of Digital Hardcore Recordings, Cold Metal Perfection was named as one of the top 20 albums of 2001 by Alternative Press.
In 2001, Endo assisted in the production of Alec Empire's solo album, Intelligence and Sacrifice. She has also since been a part of Empire's touring band, and was also involved with his follow-up album Futurist (2005).
Her trademark is her black leather and white face paint overlaid by the Japanese characters 抵抗 (teikō), meaning "resistance".
Shitter
Random Talkies
Tuesday 9:00 AM. Random day. Rainy day in a noodle shop but not having noodles. Sorry, not in Hong Kong. It could've been ripped off a Wong Kar Wai movie but no. It's just a typical conversation between male/female friends who rarely see each other. This conversation would never work with two males and two females talking. Why? For males it would require the push of alcohol. For females the topic would always go back to shopping.
"Pass the chili"
"This?"
"Right"
"Is this really chili?"
"Sauteed in garlic."
"Shee-it, sauteed."
"Burns like fucking acid." "Gives the food flavor" "Keeps your mind off the cholesterol" "Shits good." " Here."
He puts half a spoon of this wonderful concoction red chili sautéed in garlic while retaining the oil.
" Fuck, it burns". "And you ain't even sweating... for a girl."
" Emma Frost is my name". Paige deadpans.
"You're a Marvel chick after all."
Deckard slapping the table and pointed at her fingers shaking. (Doing a Crispin Glover Back to the Future impersonation)
"Of course" "and you are...."
"The Apache Chief" “I get to have the biggest dick in the world in just a say of a word!"
"Ha ha, Super friends 1975." "You are fucking old." Paige in a rare laugh.
"I got a DVD.'
"People always have DVDs of old shit." Paige trying to stop his Quentin-ish mouth.
"Citizen fucking Kane" "You gotta have Citizen Kane." "Jimmy Dean." “East of Eden." Deckard continues. "This shit is quite good. Changing the topic for once. “I can't believe it's just wet rice and tripe." "That reminds me of an aunt's recipe, tripe and all." "I was expecting it would look grotesque but it doesn't" "She's definitely the queen of presentation."
"Isn't that Callos?" "I kind of tried it already" Paige trying to end the monologue.
"Yeah, that's right."
“And I thought seafood is light.” “I gained weight”. An offhand remark. Paige is definitely the queen of such.
“Girls and their weight.” “ What the fuck is the connection between seafood and callos? Decks sarcastically asks.
“I don’t know. Random thought.” “Toothpick.” “Fucking tripe.”
“ Here.”
“ Got to do it in the restroom.”
“I’ve seen your gums before.” “ And something else.” Deckard deadpans.
Gives him the middle finger.
“Wait here.”
“Aw c’mon.” “Going to the restroom to get tripe out of your gums?”
“None of your fucking business.” “Girl thing”.
“ Oh.” “Why didn’t ya say so.” “Need help?”
Gives him another middle finger
I don’t know if he just completely ignores her insults or he’s just cold. Anyway two could play that game and trading insults are just a way of life for these two.
“Are you eating this?”
“Yeah.” “Don’t touch it”. “I’ll be back for it.”
Girls restrooms. Why is it that it stays immaculately clean while the boys room looks and smells like a pigsty. If you don’t agree could you stand making whoopee at the boys room? Someone raising a hand? Fuck you. Slob.
She returns from her soiree. Perhaps after flossing the teeth. Powdering the nose. Girl thing.
“Where were we?”
“I don’t know.”
“Citizen Fucking Kane?”
“Yeah, Citizen Fucking Kane.”
“Orson Fucking Wells.”
“Yeah.”
“Seen that 9 hour movie?”
“Attempted to.” “I gave up after 5 hours” “Went in at 12 noon right after lunch.”
“Were you the last one out?”
“Probably.”
“I won’t start any film school arguments with you.”
Paige an art student while Deckard is a self taught musician and engineer. Both are film buffs and argues a lot.
“Try me.”
“You could actually tell that story in two hours.” “Too many unnecessary parts”
“Taught you that in film school?” “Where people see too much films with sub titles and read too much Oscar Wilde.”
“See.” “You’re always too personal in your attacks.”
“Coming from a non-film school background I give a bitter sting of the truth”
“The movie is just showing-off.” Deckard continues.
“Guess so.”
"Who's getting this?"
"It's your turn."
"Why do I get the feeling that I have been cheated."
"Whatever Johnny Rotten, pay the tab and lets get the fuck out of here."
Tuesday 9:00 AM. Random day. Rainy day in a noodle shop but not having noodles. Sorry, not in Hong Kong. It could've been ripped off a Wong Kar Wai movie but no. It's just a typical conversation between male/female friends who rarely see each other. This conversation would never work with two males and two females talking. Why? For males it would require the push of alcohol. For females the topic would always go back to shopping.
"Pass the chili"
"This?"
"Right"
"Is this really chili?"
"Sauteed in garlic."
"Shee-it, sauteed."
"Burns like fucking acid." "Gives the food flavor" "Keeps your mind off the cholesterol" "Shits good." " Here."
He puts half a spoon of this wonderful concoction red chili sautéed in garlic while retaining the oil.
" Fuck, it burns". "And you ain't even sweating... for a girl."
" Emma Frost is my name". Paige deadpans.
"You're a Marvel chick after all."
Deckard slapping the table and pointed at her fingers shaking. (Doing a Crispin Glover Back to the Future impersonation)
"Of course" "and you are...."
"The Apache Chief" “I get to have the biggest dick in the world in just a say of a word!"
"Ha ha, Super friends 1975." "You are fucking old." Paige in a rare laugh.
"I got a DVD.'
"People always have DVDs of old shit." Paige trying to stop his Quentin-ish mouth.
"Citizen fucking Kane" "You gotta have Citizen Kane." "Jimmy Dean." “East of Eden." Deckard continues. "This shit is quite good. Changing the topic for once. “I can't believe it's just wet rice and tripe." "That reminds me of an aunt's recipe, tripe and all." "I was expecting it would look grotesque but it doesn't" "She's definitely the queen of presentation."
"Isn't that Callos?" "I kind of tried it already" Paige trying to end the monologue.
"Yeah, that's right."
“And I thought seafood is light.” “I gained weight”. An offhand remark. Paige is definitely the queen of such.
“Girls and their weight.” “ What the fuck is the connection between seafood and callos? Decks sarcastically asks.
“I don’t know. Random thought.” “Toothpick.” “Fucking tripe.”
“ Here.”
“ Got to do it in the restroom.”
“I’ve seen your gums before.” “ And something else.” Deckard deadpans.
Gives him the middle finger.
“Wait here.”
“Aw c’mon.” “Going to the restroom to get tripe out of your gums?”
“None of your fucking business.” “Girl thing”.
“ Oh.” “Why didn’t ya say so.” “Need help?”
Gives him another middle finger
I don’t know if he just completely ignores her insults or he’s just cold. Anyway two could play that game and trading insults are just a way of life for these two.
“Are you eating this?”
“Yeah.” “Don’t touch it”. “I’ll be back for it.”
Girls restrooms. Why is it that it stays immaculately clean while the boys room looks and smells like a pigsty. If you don’t agree could you stand making whoopee at the boys room? Someone raising a hand? Fuck you. Slob.
She returns from her soiree. Perhaps after flossing the teeth. Powdering the nose. Girl thing.
“Where were we?”
“I don’t know.”
“Citizen Fucking Kane?”
“Yeah, Citizen Fucking Kane.”
“Orson Fucking Wells.”
“Yeah.”
“Seen that 9 hour movie?”
“Attempted to.” “I gave up after 5 hours” “Went in at 12 noon right after lunch.”
“Were you the last one out?”
“Probably.”
“I won’t start any film school arguments with you.”
Paige an art student while Deckard is a self taught musician and engineer. Both are film buffs and argues a lot.
“Try me.”
“You could actually tell that story in two hours.” “Too many unnecessary parts”
“Taught you that in film school?” “Where people see too much films with sub titles and read too much Oscar Wilde.”
“See.” “You’re always too personal in your attacks.”
“Coming from a non-film school background I give a bitter sting of the truth”
“The movie is just showing-off.” Deckard continues.
“Guess so.”
"Who's getting this?"
"It's your turn."
"Why do I get the feeling that I have been cheated."
"Whatever Johnny Rotten, pay the tab and lets get the fuck out of here."
Sunday, 15 August 2010
Shitter
People walking in slow motion
Red lunch boxes
Puddles
Noodles with chopsticks
Wooden benches
Train ride to nowhere
Music without words?
Incomprehensible
Rain drops
Gazes Entwined
Blurred background
Have we met before?
Red lunch boxes
Puddles
Noodles with chopsticks
Wooden benches
Train ride to nowhere
Music without words?
Incomprehensible
Rain drops
Gazes Entwined
Blurred background
Have we met before?
Wednesday, 11 August 2010
shitter
poems
her invisible friend
locked in her mind
she comes out for tea time
On the on the outskirts of her head
her invisible friend
slightly insane
the one who holds the whip
The one who holds the reins
her invisible friend
got infectious eyes
sometimes tells I'm the best
a pack of lies
her invisible girlfriend
in the train station
trashed the flat
no medication
her invisible friend
locked in her mind
she comes out for tea time
On the on the outskirts of her head
her invisible friend
slightly insane
the one who holds the whip
The one who holds the reins
her invisible friend
got infectious eyes
sometimes tells I'm the best
a pack of lies
her invisible girlfriend
in the train station
trashed the flat
no medication
shitter
poems...
Splitted into two
One of me's addicted to you
One of me begs to let go
The other can't stand me, the other can't stand you
Ceaselessly fighting for control
One incites, the other consoles
Each demands the wheel
Neither ceases to be real
Why are you so keen to forget?
sweeter in deep regret
Pain explored to the end
Hide it and it might never mend
Spill bitter tears
Doesn't it feel good?
Blame yourself, blame her, blame the world
Envy every boy with a girl...
Splitted into two
One of me's addicted to you
One of me begs to let go
The other can't stand me, the other can't stand you
Ceaselessly fighting for control
One incites, the other consoles
Each demands the wheel
Neither ceases to be real
Why are you so keen to forget?
sweeter in deep regret
Pain explored to the end
Hide it and it might never mend
Spill bitter tears
Doesn't it feel good?
Blame yourself, blame her, blame the world
Envy every boy with a girl...
Tuesday, 10 August 2010
shitter
poems...
'tis not her fault when they call her different
she'd relish the fact that she isn't
one of the girls who'd say they were "in"
she's just cool but a little bit insane.
Her stained finernails hidden in nail polish black
her mouth could be foul but doesn't hold them back
All she needs is her records of Davis and Coltrane.
Not the songs of the boring and mundane.
She wear her hair long and unkempt
she's got eyes unsure what it meant
sad or angry
melancholy
She was too cool to care about fashion.
She'd start with mozart over a large cup of coffee black.
Day's she'd be fashionably sensitive
Some days she'd be silent and her mind subdued
She'd hate the smell in her hair
Everytime the smoke would fill the air
In her quiet pad you'd get to hear silence and
the sound of dear Lou and all the machine violence
I barely get to see her
and those forlorn eyes
the endless musical critiques and the bitter coffee
and the smell of cigarrettes in her hair
'tis not her fault when they call her different
she'd relish the fact that she isn't
one of the girls who'd say they were "in"
she's just cool but a little bit insane.
Her stained finernails hidden in nail polish black
her mouth could be foul but doesn't hold them back
All she needs is her records of Davis and Coltrane.
Not the songs of the boring and mundane.
She wear her hair long and unkempt
she's got eyes unsure what it meant
sad or angry
melancholy
She was too cool to care about fashion.
She'd start with mozart over a large cup of coffee black.
Day's she'd be fashionably sensitive
Some days she'd be silent and her mind subdued
She'd hate the smell in her hair
Everytime the smoke would fill the air
In her quiet pad you'd get to hear silence and
the sound of dear Lou and all the machine violence
I barely get to see her
and those forlorn eyes
the endless musical critiques and the bitter coffee
and the smell of cigarrettes in her hair
Friday, 6 August 2010
shitter
May 30.. Two Emails...
Saturday, May 30 – An oh-so-gloomy-rain-drenched Saturday evening. Headlights reflecting in the puddle as cars moved snails pace. Yet it was dark as in a sense, noisy, barely audible, unnamed band (electronic music) playing in the car stereo. Punctuated by Brocka’s dark and dreary Maynila sa kuko… Come to think of it, it wasn’t really that bad 20 years ago. This deserves a remake, using today’s characters. Well there isn’t really any changes except everyone’s carrying cell phones or wearing designer brands. Well, scrap the idea of a remake! Well, your news of leaving the flat caught me flatfooted. I felt that everything’s going well for you. You know, flat mates, work, people, work, the angst of living (you’re really not that angry). Then a burst of “women are fickle minded” on my phone screen. Well, that’s what caught my attention even though I don’t pay too much attention to text messages (a weird habit, perhaps?). Well, where does this go then? New roomies? Back to thy humble abode? By the time you read this you’ve probably moved out, but if you haven’t, need help with the furniture? As if. Well, It gets darker and darker that night and drowning in alcohol wasn’t my idea of fun. Though, I got my fix of Cerveza Negra, that black beer that has an aftertaste of coffee and something burnt. Then I excused myself, a bus ride is much more appropriate than a carload of blokes. Pretty strange, everybody dispersed quietly on Saturday night. Must be the rain, or the gig after the film wasn’t much of interest. Everyone just fell quiet. The vibe was just dark, like walking through the corridors of your oh-so-cool-ex apartment. I wonder what is it like in a room without windows. Just a light bulb and a door.
2nd email
Saturday, May 30 – An oh-so-gloomy-rain-drenched Saturday evening. Headlights reflecting on the puddle as cars moved like maggots. Yet it was dark. As in noisy but barely audible, unnamed and undanceable electronic music playing in the background. Sorry, I haven’t been returning text messages. Never was a fan of the cell phone to start with. My nights are spent tweaking knobs, blending noises, ear splitting feedbacks only I could hear.(headphones) Music is now nameless, faceless, only the sound of obscurity. (filenames like: loop130 chorus) It’s like the bitter taste of dark beer (Cerveza Negra). Don’t take this seriously I’m just gathering enough negative energy for my audio projects. I actually have a lot of garbage lying around and finally that I have the drive to gather them. There’s just too many. A 30 minute song perhaps? Fookin’ hell, Why the fook not? Maybe longer? Should be. I’m on my surrealist mode right now. I guess that would define all the shit that’s going on. Maybe I’ll talk to the ghost of Warhol. Or do an audio version of sleep. I dunno, It’s probably just me. I just had enough of the name dropping (bands, record labels, genres, all of it). I just name dropped Warhol. Then, fuck Warhol. Just hated the idea when people ask me what do I sound like. Should I answer, It sounds like (Insert band name/Insert genre)? Don’t you just hate it when they say, katunog ng (insert band name). Man, it’s the show band mentality at work! (Cruise ship band according to a Jap-Am guy). Even the so-called indie people are into it. What is indie? Well, that’s a 10,000 word essay waiting to happen. Can’t do it now because I’m editing my 35 minute track. Who gives a fuck what it sounds like.
shitter
emailed stuff...
Che's Kids
Che's Kids
Dear fellow revolutionary:
What's your number these days? Just askin', have you developed any telekinetic powers. Like, objects move because you look at them. Sudden gusts of wind when you're around. And my personal favorite. Mind control. Well, just writing nonesense again because I think I've probably found my mutant powers. I'm an Ice-cold person! Iceman name has been taken but I think that would describe my powers. I'm a person devoid of emotions. I realized I have never cried since..my gosh, when i was 9 years old? I think I cried at that time because my dad won't buy me a bike. Are we supposed to cry at funerals? I had a feeling that we should. Judging by the eyes that look in my direction during the funeral. I'm the only guy in the immediate family that hasn't had tears. Maybe I need that emotion back. Sadness. Maybe it would come back with a loss of someone dear but right now, I don't see anything sad. Pity? Lots. Melancholy? Check. Forlorn? Yes, of course. I do feel emotions tugging inside but the physical manifestation is nada. Where had my tears gone? Had drugs destroyed my tear ducts? How do you automatically turn on the hydrant. Others had it so easy. I know the feeling of loss because I tend to dwell on it longer. I have this thing with crematoriums. Cemeteries tend to have hints of a festive atmosphere. Crematoriums are pure sadness and gloom. Anyway, I feel so much better now.
The dark clouds are back.
Note: I don’t do drugs. Really.
shitter
In the mind of Jean Grey - X
Ah, yes. The gig (a premonition).
It was 12-ish midnight the place
is still teeming with people. We
were in the audience, beer in hand
as the band took the stage. As I
stood there with a friend, who was
a staunch, hard-to-please music
critic, I wasn't expecting much.
And there he was.... looking good
onstage with an instrument in hand.
There was a hint of stage fright
which made him adorable as his band
staggered through the first song.
The musicianship wasn't as par as
what you listen to on the radio but
I don't think that matters right
now. My friend was mumbling
something to my ear, he is probably
unleashing one of his fiery
criticism or maybe one of his dull
compliments. but it won't matter.
The first song was over. Was it 4
minutes already? Time slowed for a
moment there or was it too fast? It
was quite windy that night as the
band moved from song to song. I
was able to chat with my friend but
I wasn't able to really comprehend
as his words became incoherent as
the band played my favorite song.
I saw his eyes gazed at my
direction for a split second as he
played on. Or did he? I was
chatting with my friend who I can't
believe was actually giving
compliments. He did. He actually
did. I caught him breaking into a
smile as our eyes accidentally meet
for the third time. Third time.
I was actually keeping track. This
is so not me. The band set ended
and my feelings were incoherent.
Were those eyes meant to cross or
does it mean anything. On a windy
January midnight the months have
changed already. As the days would
keep passing and the winds keep
blowing. I'll just keep stuff
hanging. Why?!? This is just me.
Ah, yes. The gig (a premonition).
It was 12-ish midnight the place
is still teeming with people. We
were in the audience, beer in hand
as the band took the stage. As I
stood there with a friend, who was
a staunch, hard-to-please music
critic, I wasn't expecting much.
And there he was.... looking good
onstage with an instrument in hand.
There was a hint of stage fright
which made him adorable as his band
staggered through the first song.
The musicianship wasn't as par as
what you listen to on the radio but
I don't think that matters right
now. My friend was mumbling
something to my ear, he is probably
unleashing one of his fiery
criticism or maybe one of his dull
compliments. but it won't matter.
The first song was over. Was it 4
minutes already? Time slowed for a
moment there or was it too fast? It
was quite windy that night as the
band moved from song to song. I
was able to chat with my friend but
I wasn't able to really comprehend
as his words became incoherent as
the band played my favorite song.
I saw his eyes gazed at my
direction for a split second as he
played on. Or did he? I was
chatting with my friend who I can't
believe was actually giving
compliments. He did. He actually
did. I caught him breaking into a
smile as our eyes accidentally meet
for the third time. Third time.
I was actually keeping track. This
is so not me. The band set ended
and my feelings were incoherent.
Were those eyes meant to cross or
does it mean anything. On a windy
January midnight the months have
changed already. As the days would
keep passing and the winds keep
blowing. I'll just keep stuff
hanging. Why?!? This is just me.
shitter
QUOTES on emails sent..
Doors aren't meant to be closed forever. It just there to serve it's
purpose. If it's meant to be closed it shouldn't have been a door.
It should have been a wall. And we are not in a position to decide
whether the door should be closed or open. It's better off not
knowing.
*stolen quotes*
mailed to Leanne (Jean Grey)
Doors aren't meant to be closed forever. It just there to serve it's
purpose. If it's meant to be closed it shouldn't have been a door.
It should have been a wall. And we are not in a position to decide
whether the door should be closed or open. It's better off not
knowing.
*stolen quotes*
mailed to Leanne (Jean Grey)
Monday, 19 July 2010
Shitter Post
I'm never upbeat. Happiness is the deception of trying to convince yourself that you're happy.
Tuesday, 13 July 2010
Shitter Blog 7-13-10
If it's a bad day today it won't be that worse. As it is going to be a series of bad days from hereon. The light at the end of a tunnel is a raging train.
Monday, 12 July 2010
Shitter Blog 7-12-10
It seems that there's always a first step. Small one or gigantic one. Eh, Neil Armstrong? Now I'm house hunting because I'm going to be alone for the rest of my life. Trenchtown is number one on my list yet I'm not sure since I don't even have the necessary funds to run away. There's far-view but as the name says it's far. Keeping my fingers closed.
Thursday, 21 January 2010
DRONE MUSIC
Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".
Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth, The Velvet Underground, Robert Fripp & Brian Eno, Robert Rich, Steve Roach, Stars of the Lid, Earth, Coil, Sonic Boom, Phill Niblock, Sheila Chandra, and Sunn O))).
Ethnic or spiritual music which contains drones and is rhythmically still or very slow, called "drone music", can be found in many parts of the world, including bagpipe traditions, among them Scottish pibroch piping; didgeridoo music in Australia, South Indian classical music and Hindustani classical music (which is accompanied almost invariably by the tambura, a four-string instrument which is only capable of playing a drone); the sustained tones found in the Japanese gagaku classical tradition; possibly (disputed) in pre-polyphonic organum vocal music of late medieval Europe; and the Byzantine chant's ison (or drone-singing, attested after the fifteenth century). Repetition of tones, supposed to be in imitation of bagpipes, is found in a wide variety of genres and musical forms. However, the lineage of stillness and long tones occurring in classical compositions during adagio movements, including, for instance, the third movement of Anton Webern's Five Small Pieces for Orchestra, as well as in Northern European folk musics in the form of "slow airs" has directly descended into modern popular and electronic music in a way which is directly derived from the milieu of La Monte Young, Tony Conrad, John Cale, Charlemagne Palestine and others in 1960s New York.
The modern genre also called drone music (called "dronology" by some books, labels and stores, to differentiate it from ethnic drone-based music) is often applied to artists who have allied themselves closely with underground music and the post-rock or experimental music genres. Drone music also fits into the genres of found sound, minimalist music, dark ambient, drone doom/drone metal, and noise music. Most often utilizing electronic instruments or electronic processing of acoustic instruments, they typically create dense and unmoving harmonies and a stilled or "hovering" sense of time. While the hallmarks of drone music are easy to recognize, the backgrounds and goals of the artists vary greatly.
Pitchfork Media and Allmusic journalist Mark Richardson defined it thus: "The vanishing-point music created by drone elders Phil Niblock and, especially, LaMonte Young is what happens when a fixation on held tones reaches a tipping point. Timbre is reduced to either a single clear instrument or a sine wave, silence disappears completely, and the base-level interaction between small clusters of "pure" tone becomes the music's content. This kind of work takes what typically helps us to distinguish "music" from "sound," discards nearly all of it, and then starts over again from scratch."
As summarized in a review, "Drone music is about as far away from music as you can get before it stops being music In the beginning, there was the word, and the word was oooooommmmmmm. God was, apparently, a drone music pioneer, and there is something religious about this music... or rather, something spiritual.
La Monte Young and the Theater of Eternal Music
La Monte Young, fascinated with "the sound of the wind blowing", the "60 cycle per second drone" of "step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho",[23] started writing music incorporating sustained tones in 1957 with the middle section of Four Brass, then in 1958 what he describes as "the first work in the history of music that is completely composed of long sustained tones and silences"[23] with Trio for Strings, before exploring this drone music within the Theater of Eternal Music that he founded in 1962.
The Theater of Eternal Music is a multi-media performance group who, in its 1960s–1970s heyday included at various times La Monte Young, Marian Zazeela, Tony Conrad, Angus MacLise, Terry Jennings, John Cale, Billy Name, Jon Hassell, Alex Dea and others, each from various backgrounds (classical composition and performance, painting, mathematics, poetry, jazz, etc.) and brought with them concepts of the meaning of the music they were involved with as well as audiences who might not have otherwise attended. Operating from the world of lofts and galleries in New York in the mid-sixties to the mid-seventies in particular, and tied to the aesthetics of Fluxus and the post-John Cage-continuum, the group gave performances on the East Coast of the United States as well as in Western Europe comprised long periods of sensory innundation with combinations of harmonic relationships, which moved slowly from one to the next by means of "laws" laid out by Young regarding "allowable" sequencies and simultaneities, perhaps in imitation of Hindustani classical music which he, Zazeela and the others either studied or at least admired. The group released nothing during their lifetime (although Young and Zazeela issued a collaborative LP in 1969, and Young contributed in 1970 one side of a flexi-disc accompanying Aspen magazine). The concerts themselves were influential on their own upon the art world including Karlheinz Stockhausen (whose Stimmung bears their influence most strikingly) and the drone-based minimalist works of dozens of other composers many of whom made parallel innovations including Young classmate Pauline Oliveros, or Eliane Radigue, Charlemagne Palestine, Yoshi Wada, Phill Niblock and many others. Then group member John Cale went on to extend and popularize this work into 1960s rock music with the Velvet Underground (along with songwriter Lou Reed).
In 2000, La Monte Young wrote: "[About] the style of music that I originated, I believe that the sustained tone branch of minimalism, also known as “drone music,” is a fertile area for exploration."
John Cale and the Velvet Underground
The combination of Cale's grinding viola drone with Reed's two-chord guitar figure of the Velvet Underground's song "Heroin" on their first album, The Velvet Underground & Nico (1967) laid the foundation for drone music as a Rock music genre in close proximity to the art-world project of the Theatre of Eternal Music.[3] Cale's departure from the group in 1968 blurred matters considerably, as Reed continued to play primitive figures (sometimes in reference to R&B), while Cale went quickly on to produce the Stooges' debut (1969), including his viola drone on the track "We Will Fall" and Nico's The Marble Index (1969) which also included Cale's viola drone on "Frozen Warnings". Later, Lou Reed issued in 1975 a double LP of multi-tracked electric-guitar feedback titled Metal Machine Music which listed (misspelling included) "Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music" among its "Specifications".
George Harrison and the Beatles
Several songs by The Beatles, the most popular and influential group of the 1960s, include drones. Drawing on George Harrison's studies and friendship with Hindustani classical sitarist, Ravi Shankar, from 1966's "Love You To" through 1967's "The Inner Light", many of Harrison's compositions include the tambura, an instrument dedicated in Indian music to harmonic stasis. John Lennon's "Tomorrow Never Knows", a quasi-mystical song based around text from the Tibetan Book of the Dead also includes the tambura and is sung around a pedal-point drone, as in medieval Western liturgical music.
Krautrock
In the late sixties and early seventies German rock musicians including Can, Neu! and Faust drew from the heritage of experimental sixties rock like the Beatles at their most collagic and jamming as well as from composers like Stockhausen and La Monte Young.[32] These groups became influential on art-rock contemporaries in their own day and punk-rock and post-punk players subsequently.[33][34] Tony Conrad, of the Theater of Eternal Music, notably made a collaborative LP with Faust which included nothing but two sides of complex violin drones accompanied only by a single note on bass guitar and a bloody-minded percussion accompaniment. Single-note bass-lines were also featured on Can's track "Mother Sky" (album Soundtracks, 1970) and the entirety of Die Krupp's first album (1979).
New age, cosmic and ambient music
Parallel to Krautrock's rockist impulses, across North America and Europe, some musicians sought to reconcile Asian classicalism, austere minimalism and folk music's consonant aspects in the service of spiritualism. Among them was Theater of Eternal Music alumnus Terry Riley with his 1964 In C and who had become a disciple, along with Young and Zazeela, of the Hindustani classical singer Pandit Pran Nath. In parallel, then-Krautrock band Tangerine Dream and their recently departed member Klaus Schulze both moved toward a more contemplative and consonant harmonic music, each releasing their own drone music album on Ohr Records in August 1972 (Zeit and Irrlicht, respectively). Meanwhile, as increasingly elaborate studio technology was born during the seventies, Brian Eno, an alumn of the glam/art-rock band Roxy Music postulated ambient music (drawing, in part from John Cage and his antecedent Erik Satie's 1910s concept of furniture music, in part from minimalists such as La Monte Young)[37] as "able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting".[38] While his late seventies ambient tape-music recordings are not drone music, his acknowledgment of Young ("the daddy of us all") and his influence on later drone music made him an undeniable link in the chain.
Shoegaze and indie-drone
In the UK, a crop of 1980s rock bands appeared who owed greater or lesser debts to the Velvet Underground, Krautrock, and subsequent droning trends. Cocteau Twins, Coil, My Bloody Valentine, Slowdive, The Jesus and Mary Chain, Ride, Loop (who covered Can's "Mother Sky") Brian Jonestown Massacre (Methodrone album) and Spacemen 3, (who used a text by Young as text for the liner notes to their record Dreamweapon: an evening of contemporary sitar music, a live 45-minute drone piece),for instance reasserted the influence of the Velvet Underground and its antecedents in their use of overwhelming volume and hovering sounds, even as they asserted rockish and propulsive rhythms. Sonic Youth uses a large number of guitars with alternate tunings to emphasise the drone in almost all of their songs. They also quite often prolong notes in their song structures to add more droning in their song. Pelt and Charalambides expanded them further still while referring to eighties and nineties noise music, Metal Machine Music-derived performers like Merzbow, C.C.C.C., and KK Null.
Electronics and metal
In the late 1990s and early 2000s, drone music was intermixed with rock, ambient, dark ambient, electronic and new-age music. Many drone music originators, including Phill Niblock, Eliane Radigue and La Monte Young are still active and continute to work exclusively in long, sustained tones. Meanwhile, however, younger musicians tied to electronic composition like Jliat and Ian Nagoski remain dedicated almost exclusively to drone music, while improvisors like Hototogisu and Sunroof! play nothing but sustained fields which are close to drones. Sunn O))), a drone metal band, almost exclusively plays sustained tone pieces, and their peers Merzbow and Boris released a collaborative 62-minute drone piece called Sun Baked Snow Cave in 2005.
Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth, The Velvet Underground, Robert Fripp & Brian Eno, Robert Rich, Steve Roach, Stars of the Lid, Earth, Coil, Sonic Boom, Phill Niblock, Sheila Chandra, and Sunn O))).
Ethnic or spiritual music which contains drones and is rhythmically still or very slow, called "drone music", can be found in many parts of the world, including bagpipe traditions, among them Scottish pibroch piping; didgeridoo music in Australia, South Indian classical music and Hindustani classical music (which is accompanied almost invariably by the tambura, a four-string instrument which is only capable of playing a drone); the sustained tones found in the Japanese gagaku classical tradition; possibly (disputed) in pre-polyphonic organum vocal music of late medieval Europe; and the Byzantine chant's ison (or drone-singing, attested after the fifteenth century). Repetition of tones, supposed to be in imitation of bagpipes, is found in a wide variety of genres and musical forms. However, the lineage of stillness and long tones occurring in classical compositions during adagio movements, including, for instance, the third movement of Anton Webern's Five Small Pieces for Orchestra, as well as in Northern European folk musics in the form of "slow airs" has directly descended into modern popular and electronic music in a way which is directly derived from the milieu of La Monte Young, Tony Conrad, John Cale, Charlemagne Palestine and others in 1960s New York.
The modern genre also called drone music (called "dronology" by some books, labels and stores, to differentiate it from ethnic drone-based music) is often applied to artists who have allied themselves closely with underground music and the post-rock or experimental music genres. Drone music also fits into the genres of found sound, minimalist music, dark ambient, drone doom/drone metal, and noise music. Most often utilizing electronic instruments or electronic processing of acoustic instruments, they typically create dense and unmoving harmonies and a stilled or "hovering" sense of time. While the hallmarks of drone music are easy to recognize, the backgrounds and goals of the artists vary greatly.
Pitchfork Media and Allmusic journalist Mark Richardson defined it thus: "The vanishing-point music created by drone elders Phil Niblock and, especially, LaMonte Young is what happens when a fixation on held tones reaches a tipping point. Timbre is reduced to either a single clear instrument or a sine wave, silence disappears completely, and the base-level interaction between small clusters of "pure" tone becomes the music's content. This kind of work takes what typically helps us to distinguish "music" from "sound," discards nearly all of it, and then starts over again from scratch."
As summarized in a review, "Drone music is about as far away from music as you can get before it stops being music In the beginning, there was the word, and the word was oooooommmmmmm. God was, apparently, a drone music pioneer, and there is something religious about this music... or rather, something spiritual.
La Monte Young and the Theater of Eternal Music
La Monte Young, fascinated with "the sound of the wind blowing", the "60 cycle per second drone" of "step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho",[23] started writing music incorporating sustained tones in 1957 with the middle section of Four Brass, then in 1958 what he describes as "the first work in the history of music that is completely composed of long sustained tones and silences"[23] with Trio for Strings, before exploring this drone music within the Theater of Eternal Music that he founded in 1962.
The Theater of Eternal Music is a multi-media performance group who, in its 1960s–1970s heyday included at various times La Monte Young, Marian Zazeela, Tony Conrad, Angus MacLise, Terry Jennings, John Cale, Billy Name, Jon Hassell, Alex Dea and others, each from various backgrounds (classical composition and performance, painting, mathematics, poetry, jazz, etc.) and brought with them concepts of the meaning of the music they were involved with as well as audiences who might not have otherwise attended. Operating from the world of lofts and galleries in New York in the mid-sixties to the mid-seventies in particular, and tied to the aesthetics of Fluxus and the post-John Cage-continuum, the group gave performances on the East Coast of the United States as well as in Western Europe comprised long periods of sensory innundation with combinations of harmonic relationships, which moved slowly from one to the next by means of "laws" laid out by Young regarding "allowable" sequencies and simultaneities, perhaps in imitation of Hindustani classical music which he, Zazeela and the others either studied or at least admired. The group released nothing during their lifetime (although Young and Zazeela issued a collaborative LP in 1969, and Young contributed in 1970 one side of a flexi-disc accompanying Aspen magazine). The concerts themselves were influential on their own upon the art world including Karlheinz Stockhausen (whose Stimmung bears their influence most strikingly) and the drone-based minimalist works of dozens of other composers many of whom made parallel innovations including Young classmate Pauline Oliveros, or Eliane Radigue, Charlemagne Palestine, Yoshi Wada, Phill Niblock and many others. Then group member John Cale went on to extend and popularize this work into 1960s rock music with the Velvet Underground (along with songwriter Lou Reed).
In 2000, La Monte Young wrote: "[About] the style of music that I originated, I believe that the sustained tone branch of minimalism, also known as “drone music,” is a fertile area for exploration."
John Cale and the Velvet Underground
The combination of Cale's grinding viola drone with Reed's two-chord guitar figure of the Velvet Underground's song "Heroin" on their first album, The Velvet Underground & Nico (1967) laid the foundation for drone music as a Rock music genre in close proximity to the art-world project of the Theatre of Eternal Music.[3] Cale's departure from the group in 1968 blurred matters considerably, as Reed continued to play primitive figures (sometimes in reference to R&B), while Cale went quickly on to produce the Stooges' debut (1969), including his viola drone on the track "We Will Fall" and Nico's The Marble Index (1969) which also included Cale's viola drone on "Frozen Warnings". Later, Lou Reed issued in 1975 a double LP of multi-tracked electric-guitar feedback titled Metal Machine Music which listed (misspelling included) "Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music" among its "Specifications".
George Harrison and the Beatles
Several songs by The Beatles, the most popular and influential group of the 1960s, include drones. Drawing on George Harrison's studies and friendship with Hindustani classical sitarist, Ravi Shankar, from 1966's "Love You To" through 1967's "The Inner Light", many of Harrison's compositions include the tambura, an instrument dedicated in Indian music to harmonic stasis. John Lennon's "Tomorrow Never Knows", a quasi-mystical song based around text from the Tibetan Book of the Dead also includes the tambura and is sung around a pedal-point drone, as in medieval Western liturgical music.
Krautrock
In the late sixties and early seventies German rock musicians including Can, Neu! and Faust drew from the heritage of experimental sixties rock like the Beatles at their most collagic and jamming as well as from composers like Stockhausen and La Monte Young.[32] These groups became influential on art-rock contemporaries in their own day and punk-rock and post-punk players subsequently.[33][34] Tony Conrad, of the Theater of Eternal Music, notably made a collaborative LP with Faust which included nothing but two sides of complex violin drones accompanied only by a single note on bass guitar and a bloody-minded percussion accompaniment. Single-note bass-lines were also featured on Can's track "Mother Sky" (album Soundtracks, 1970) and the entirety of Die Krupp's first album (1979).
New age, cosmic and ambient music
Parallel to Krautrock's rockist impulses, across North America and Europe, some musicians sought to reconcile Asian classicalism, austere minimalism and folk music's consonant aspects in the service of spiritualism. Among them was Theater of Eternal Music alumnus Terry Riley with his 1964 In C and who had become a disciple, along with Young and Zazeela, of the Hindustani classical singer Pandit Pran Nath. In parallel, then-Krautrock band Tangerine Dream and their recently departed member Klaus Schulze both moved toward a more contemplative and consonant harmonic music, each releasing their own drone music album on Ohr Records in August 1972 (Zeit and Irrlicht, respectively). Meanwhile, as increasingly elaborate studio technology was born during the seventies, Brian Eno, an alumn of the glam/art-rock band Roxy Music postulated ambient music (drawing, in part from John Cage and his antecedent Erik Satie's 1910s concept of furniture music, in part from minimalists such as La Monte Young)[37] as "able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting".[38] While his late seventies ambient tape-music recordings are not drone music, his acknowledgment of Young ("the daddy of us all") and his influence on later drone music made him an undeniable link in the chain.
Shoegaze and indie-drone
In the UK, a crop of 1980s rock bands appeared who owed greater or lesser debts to the Velvet Underground, Krautrock, and subsequent droning trends. Cocteau Twins, Coil, My Bloody Valentine, Slowdive, The Jesus and Mary Chain, Ride, Loop (who covered Can's "Mother Sky") Brian Jonestown Massacre (Methodrone album) and Spacemen 3, (who used a text by Young as text for the liner notes to their record Dreamweapon: an evening of contemporary sitar music, a live 45-minute drone piece),for instance reasserted the influence of the Velvet Underground and its antecedents in their use of overwhelming volume and hovering sounds, even as they asserted rockish and propulsive rhythms. Sonic Youth uses a large number of guitars with alternate tunings to emphasise the drone in almost all of their songs. They also quite often prolong notes in their song structures to add more droning in their song. Pelt and Charalambides expanded them further still while referring to eighties and nineties noise music, Metal Machine Music-derived performers like Merzbow, C.C.C.C., and KK Null.
Electronics and metal
In the late 1990s and early 2000s, drone music was intermixed with rock, ambient, dark ambient, electronic and new-age music. Many drone music originators, including Phill Niblock, Eliane Radigue and La Monte Young are still active and continute to work exclusively in long, sustained tones. Meanwhile, however, younger musicians tied to electronic composition like Jliat and Ian Nagoski remain dedicated almost exclusively to drone music, while improvisors like Hototogisu and Sunroof! play nothing but sustained fields which are close to drones. Sunn O))), a drone metal band, almost exclusively plays sustained tone pieces, and their peers Merzbow and Boris released a collaborative 62-minute drone piece called Sun Baked Snow Cave in 2005.
Tuesday, 15 September 2009
Shitter 03
What’s wrong with music today? Do you really have to fit everything in a genre. Like Indie. Fookin’ Indie. Is it really about the music? Or is it what the people are wearing. Such pretensions. It’s really quite shitty that you listen to a particular kind of music but you need a corresponding footwear or a brand name for it. Fred “Fucking” Perry. I dare you. Wear a Hanes t-shirt and some Vans in a so-called indie gig. You’d see eyes looking at you saying “This ain’t an EMO gig”. Even a goatee is out of place.
Have you noticed lately? Rockstars are squeaky clean and corporate sponsored. I haven’t seen ‘em clad in rat thinned jeans and old shirts or even in battered chucks. It’s all about sponsorships nowadays. Here’s a middle finger from dear Jello!!
Record labels. What does it take to have a record label? I could only see one or two good ones. Indie record labels are quite a story. Lot’s of hard work marketing and circulating the acts but In P.I. (Philippine Islands) it’s a status symbol. I have a record label and I have bands. I’m fookin’ Tony Wilson.
Covering Indie bands. Only in P.I. They’re Indie so they don’t care about the mainstream. Here Indie bands cover indie bands. Covers. So much covers. We’re all fucking monkeys.
Guitar Hero killed Rock and Roll. I’ll take a real guitar anytime. What’s the matter you wimps? Can’t handle the blisters in your fingers? A guitar controller is not an instrument. If you started playing the guitar months ago you could’ve been good by now. I fear the future.
Human Subjects – Hermann Goebells (Steven Hiller Mix)A 25- minute remix of a noise track recorded and preserved in 1935 in Krakow, Poland. The weird noises were taken during the construction of the now infamous Krakow Concentration Camp during its testing and dry run. It’s was known that dogs and rats were the test subjects. The Steven Hiller Remix was recorded live during a gig at Krakow, Poland. They weren’t allowed to have a gig at the actual site due to political reasons.
Musicians make music because they want to. Not to satisfy the masses. Musicians that satisfy the masses are an abomination. Why satisfy someone who doesn’t even know what they’re talking about. Pop has shot itself in the head. Pop musicians in the past won’t make it today because they don’t fit today’s standards. Is it because they’re not talented enough for today’s standards? A big middle finger. NO. The answer is they’re too fucking ugly! Stevie Wonder (does anybody know that a lot of assholes are covering his song?) won’t make it because he’s BLIND. So do Ray Charles. All the handicapped greats. They won’t make it today. You got to have an image. Talent is optional. And we thought Diana Ross was difficult. At least MISS ROSS has the big “T”. Big Aretha won’t make too because she’s too big. Eric “god” Clapton won’t make it because he could play the guitar and not the guitar game pad. I’ll name the who’s who of pop music and music producers would tell them to bugger off if they start auditioning again. Still don’t believe me? Two words. Bob “FUCKING Dylan. That’s three words.
Have you noticed lately? Rockstars are squeaky clean and corporate sponsored. I haven’t seen ‘em clad in rat thinned jeans and old shirts or even in battered chucks. It’s all about sponsorships nowadays. Here’s a middle finger from dear Jello!!
Record labels. What does it take to have a record label? I could only see one or two good ones. Indie record labels are quite a story. Lot’s of hard work marketing and circulating the acts but In P.I. (Philippine Islands) it’s a status symbol. I have a record label and I have bands. I’m fookin’ Tony Wilson.
Covering Indie bands. Only in P.I. They’re Indie so they don’t care about the mainstream. Here Indie bands cover indie bands. Covers. So much covers. We’re all fucking monkeys.
Guitar Hero killed Rock and Roll. I’ll take a real guitar anytime. What’s the matter you wimps? Can’t handle the blisters in your fingers? A guitar controller is not an instrument. If you started playing the guitar months ago you could’ve been good by now. I fear the future.
Human Subjects – Hermann Goebells (Steven Hiller Mix)A 25- minute remix of a noise track recorded and preserved in 1935 in Krakow, Poland. The weird noises were taken during the construction of the now infamous Krakow Concentration Camp during its testing and dry run. It’s was known that dogs and rats were the test subjects. The Steven Hiller Remix was recorded live during a gig at Krakow, Poland. They weren’t allowed to have a gig at the actual site due to political reasons.
Musicians make music because they want to. Not to satisfy the masses. Musicians that satisfy the masses are an abomination. Why satisfy someone who doesn’t even know what they’re talking about. Pop has shot itself in the head. Pop musicians in the past won’t make it today because they don’t fit today’s standards. Is it because they’re not talented enough for today’s standards? A big middle finger. NO. The answer is they’re too fucking ugly! Stevie Wonder (does anybody know that a lot of assholes are covering his song?) won’t make it because he’s BLIND. So do Ray Charles. All the handicapped greats. They won’t make it today. You got to have an image. Talent is optional. And we thought Diana Ross was difficult. At least MISS ROSS has the big “T”. Big Aretha won’t make too because she’s too big. Eric “god” Clapton won’t make it because he could play the guitar and not the guitar game pad. I’ll name the who’s who of pop music and music producers would tell them to bugger off if they start auditioning again. Still don’t believe me? Two words. Bob “FUCKING Dylan. That’s three words.
Tuesday, 8 September 2009
Shitter BLOG
Saw the old STONE ROSES documentary (at the BBC). Manchester Bands. Fookin’ Manchester Bands. They tend to have such promise only to self destruct in the end. We are filled with envy all the way. We wish we could have taken a ride to the downward spiral. But then again, we’re from the Philippines and we cover Manchester bands to death. I hope they all self-destruct or maybe cover something else but damage has already been done. We’re all Manchester band wannabees. Well fook ‘em all. I’m from Salford and that makes a fookin’ big difference.
We’re all suckers for hairstyles. We’re suckers for shoes. We buy because we see some Manchester wanker wearing the same shyte.
Was I a regular at the HACIENDA or THE INTERNATIONAL? Neither. I was probably under the bridge sniffing glue with my fellow bums. I probably wasn’t making music but started when Tony “Fookin” Wilson asked everybody to loot the Hacienda. We was able to get me hands on a (I later discovered as a) 4 track tape recorder, a used acoustic guitar pick-up and some kind of guitar pedal. It has MARKER writing on it that says “HOOKY” (probably the name of the owner). I got all these gear together in me house/room or whatever you may call it and try to get them to work so that I could sell the gear. I tried to make the damn amplifier to work but I ain’t a musician so I tried to record the noise with the tape machine. The rest is not history because I kept the tape until this day and those wankers who heard it say it’s art. Those cunts. They probably read too much Oscar Wilde and watch movies with sub-titles in it or getting too many degrees just for the heck of it.
Please. Not another rock and roll movie. We had enough. Control was the last straw. Why dear Anton? Why? People should leave Joy Division alone. Why not leave Manchester music alone. The cycle would end eventually but make it sooner. I can’t endure a dude wearing a clean “The Smiths” shirt and a “Stone Roses” haircut and a Peter Saville “Adidas” shoes and tracksuit. Let the madness end please.
Another angry female singer/songwriter releases a CD. Does it work? No. Why? Fookin’hell she’s only 20 she hasn’t been through shit. She hasn’t had heroin or even alcohol. The credit goes to the “ghost” songwriter who’s probably old, been through shit and probably suicidal because a wide-eye teeny bopper is going to take credit for her song. Here’s a middle finger from NICO, darling. No? Oh, she’s drugged out and dead. Now that’s rock and roll, baby!
The endless up and down motion punctuated by a hiss of steam a scream of rubbing steel and spark of metal making contact with concrete. Music. Madness. Mayhem. Noise. Like I said, MUSIC.
Review - Hermann Goebells – “Krakow”- (Jean-Paul Newman MIX) Single
“Metal rubbing the concrete makes an intolerable noise which actually makes you cringe as an uncomfortable feeling flows through your veins. You will get goose bumps and there will be gnashing of teeth. Then followed by dizziness and vertigo as your eardrums give out all you can hear in a high pitch signaling the end of hearing. Then your ears bleed in crimson glory”. AURGASM. – Mitch Stevens – Shit Magazine
Friday, 4 September 2009
Shitter 02
Bowery Gig - June 15 1975 – not CBGB.
9:00 – Kicking back with a few beers, snorting a line or two and waiting for things to unravel. The club isn’t much. It was pretty humid on a summer night with a smell of alcohol, cigarettes or even urine inside the club. A band soon to be recognized as “The Shmucks” were finishing their set. 30 songs in 15 minutes. Fast, breakneck, rowdy and loud. The body count? Three injured. One needs to be brought to the hospital. I doubt that they reached their destination. Probably recovered halfway, made a detour and ended up buying speed. Next up was a band whose sound was just endless machine shrieks. Dear Lou must’ve heared them before he made that snappy album dear Lester really loved.
Speed heads were getting really restless. The noise was getting intolerable. No one even hears a bottle break. All they could see was a guy bleeding in the head. A riot ensued. It was insane. It was like a Marx brother silent movie. The noise was drowning everything. Fuck, we didn’t even hear the cops coming. The toll? Several we’re arrested for possession of illegal narcotics, some we’re held for assault and resisting arrest. Tunnel 02 was the band playing that night. The band was responsible for serious aural injuries. New York state hospital reported almost 100 patients with minor ear damage. All of them were coming from the same gig. “Nicey nicey. Fuck ‘em all, Let them ears bleed” Callum White – Tunnel 02 sound engineer .
We give tribute to awesome bands say like Joy Division or The Smiths. So we’re INDIE. But secretly wankers from these bands are listening to 50’s soul music, or even Motown. Or even Bowie. But the so-called indie people don’t even mention Bowie or my evil twin Ziggy Stardust. Why isn’t there a Bowie tribute? Not Indie enough?
New York 1975. It isn’t a fashion statement or a trend that doesn’t need to be revived. It’s not MTV where you recycle trends. It happened. Leave it. Joey Ramone is dead. Leave him.
LP’s sounds definitely better. Digital sucks. Can you stand music without a trace of bass? What’s wrong with your fuckin’ ears.
Only in this country where you can hear Joy Division played by a band note for note. Haunting. Even Joy division couldn’t play their songs note for note. People can’t just leave that guy Ian alone.
Control – Anton Corbijn
If I was dear Anton I wouldn’t make a film about Joy Division. Too sellable. Too many swooning girls in the theater. Too many Joy Division tribute bands.
Band comebacks
It’s like Paul McCartney’s band calling themselves “The Beatles”. Thank god for dear Yoko or else The Beatles would be singing “No More Lonely Rice”. That’s right Paul, How do you really sleep?
Enough Black Sabbath Covers already. If you have the urge of playing the songs, use a real guitar. A guitar hero controller ain’t a guitar you fuckin’ dumbass.
Beatles Rockband video game – Beatles are the easiest songs to play on the guitar. Are they kidding? Are kids too lazy to learn the guitar.
Drunk banshee – aren’t they suppose to be loud and shrieking? In another track by Liam O’ Connell and Tunnel 03 they were joined by Sara Dunnigan and lo we were treated to a haunting number with Steve Jones (not Pistols) providing the fucked up bass lines and accented by Mike Collins (astronaut’s kid on guitars). It was recorded at Gurney Studio’s Limerick Ireland. For an upcoming album we hope but for now an EP would be mostly appreciated.
New York 1975. It isn’t a fashion statement or a trend that doesn’t need to be revived. It’s not MTV where you recycle trends. It happened. Leave it. Joey Ramone is dead. Leave him.
LP’s sounds definitely better. Digital sucks. Can you stand music without a trace of bass? What’s wrong with your fuckin’ ears.
Only in this country where you can hear Joy Division played by a band note for note. Haunting. Even Joy division couldn’t play their songs note for note. People can’t just leave that guy Ian alone.
Control – Anton Corbijn
If I was dear Anton I wouldn’t make a film about Joy Division. Too sellable. Too many swooning girls in the theater. Too many Joy Division tribute bands.
Band comebacks
It’s like Paul McCartney’s band calling themselves “The Beatles”. Thank god for dear Yoko or else The Beatles would be singing “No More Lonely Rice”. That’s right Paul, How do you really sleep?
Enough Black Sabbath Covers already. If you have the urge of playing the songs, use a real guitar. A guitar hero controller ain’t a guitar you fuckin’ dumbass.
Beatles Rockband video game – Beatles are the easiest songs to play on the guitar. Are they kidding? Are kids too lazy to learn the guitar.
Drunk banshee – aren’t they suppose to be loud and shrieking? In another track by Liam O’ Connell and Tunnel 03 they were joined by Sara Dunnigan and lo we were treated to a haunting number with Steve Jones (not Pistols) providing the fucked up bass lines and accented by Mike Collins (astronaut’s kid on guitars). It was recorded at Gurney Studio’s Limerick Ireland. For an upcoming album we hope but for now an EP would be mostly appreciated.
Wednesday, 2 September 2009
Shitter 01
An Epic in the Making: The Implosion of a Rock Band.
(by John Carmichael, TTL
(by John Carmichael, TTL
Keyboards 1989 - 1993)
Finally, after years of planning, by one man actually, we finally, reluctantly ended up in “The Loft” (not in Rochdale but somewhere) for recording. As usual we were unprepared, no practice for eons yet we were willing to splurge cash on a recording session. I for one is reluctant. I just spent heaps of cash on a mortgage and I’m not really looking forward in playing producer. The botched recording sessions in Rochdale were a reminder of what the band is capable of. Of self destruction that is. Judging by the progress we were making or the lack thereof we could finish this project in two months with minimal budget. But right now, the singer has his own Shaun Ryder like tendencies like overdubs here and there, shit like this and that. I hope he got a grant from Oxford or something because the delays are costing a lot. I just wish he’d share his hash with everyone at least we’d be smiling and stoned. The guitar player is, well, “himself” again. Actually he went into recording with nothing in mind and started being “himself”. Let’s call him the Mark E. Smith of guitar players. End of story. Another week, another delay, we started July we didn’t do anything in August it is September now and the tracks are rotting in the mixing board. I’m not sure what the plans are or when the finances are going to give out. We got a new drummer he is still in the adjustment period I think he’ll do well because he was able to withstand the endless repetition demands from our singer/quasi band leader. By the end of the year, my prediction would be, it’s still going to be unfinished. We’ll be another waste of MD discs. I’m hoping to get my hands on the unfinished tracks and work some magic. Or to put it bluntly, fuck it up that even the band would hate it. By the way, some unofficial tracks were leaked online. Ladies and gentlemen, let the name-dropping start. 4AD? I respect the record label but it’s the name droppers that I abhor. If you can’t describe the shit, don’t. I’m already about to vomit when people compare us to post punk 80s bands. I dare you to say it again. Say it again.
Frag 02- (remix) - Was able to cook up some tracks using some noises I recorded in a micro cassette. Micros are kind of cool for their lack of bass sound much like the sound of cell phone speakers my workmates play during break time. Sounds like a tin can. But not the micros. It still has a rich analog sound but the thing is, the bass isn’t registering. I treated it to a barrage of reverbs and choruses and I was able to create a sonic noise and re-recorded some parts to produce a different layer. It was supposed to be a sonic feedback laced sound but the house remix kind of gave it a thumping sound that balanced the ear ache that the micros produced. So kids, a micro cassette recorder is more lethal than your lame ass I-pod.
Krakow – is actually not sonically inspired but more based of what would have happened or to put it this way, what would you hear if you were the one operating the machines in the gas chamber. Lots of industrial noises, back masked tapes and a drone of an actual machine. First time listeners swore that they were able to hear prisoners being led to the chamber and subsequent screams even it was drowned by loud machinery.
R.I.T.H. (Rivets in the Head) – A hardcore industrial track music generated from machines operating. Background noises were recorded in a factory assembling tin cans for canned goods. Live noises were recorded simultaneously with the background using a generic delay pedal running through a Behringer 8 track mixer.
The music industry is dead. I
Frag 02- (remix) - Was able to cook up some tracks using some noises I recorded in a micro cassette. Micros are kind of cool for their lack of bass sound much like the sound of cell phone speakers my workmates play during break time. Sounds like a tin can. But not the micros. It still has a rich analog sound but the thing is, the bass isn’t registering. I treated it to a barrage of reverbs and choruses and I was able to create a sonic noise and re-recorded some parts to produce a different layer. It was supposed to be a sonic feedback laced sound but the house remix kind of gave it a thumping sound that balanced the ear ache that the micros produced. So kids, a micro cassette recorder is more lethal than your lame ass I-pod.
Krakow – is actually not sonically inspired but more based of what would have happened or to put it this way, what would you hear if you were the one operating the machines in the gas chamber. Lots of industrial noises, back masked tapes and a drone of an actual machine. First time listeners swore that they were able to hear prisoners being led to the chamber and subsequent screams even it was drowned by loud machinery.
R.I.T.H. (Rivets in the Head) – A hardcore industrial track music generated from machines operating. Background noises were recorded in a factory assembling tin cans for canned goods. Live noises were recorded simultaneously with the background using a generic delay pedal running through a Behringer 8 track mixer.
The music industry is dead. I
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