TagMusic
From I Die You Die:
We were contacted a few days before leaving for Kinetik by Jairus Khan from Ad·ver·sary. He told us that he was planning a visual presentation for his set at the festival which he anticipated would attract a lot of attention, and wanted to speak to us about it. The presentation related to themes and imagery in the work of two other artists on the opening night Kinetik bill, specifically Combichrist and Nachtmahr. The presentation, which can be viewed here, or at the bottom of this post, openly critiques what Jairus perceives as the use of misogynist and racist tropes in those band’s music and publicity materials. We spoke to Jairus after seeing an early version of the video.
Full Story: Interview with Jairus Khan from Ad·ver·sary
See also:
Sound: Psychetect
Video: Gadgetto
Art: Ian MacEwan
Last month I performed at Rotture in Portland, OR opening for The Steven Lasombras, along with Cult of Zir and Meta-Pinnacle. I had some technical difficulties in the beginning, so you might want to jump forward to about 3:00 minutes in. It’s hard to tell from the video, but what I’m doing is bowing a broken drum cymbal with a cello bow. I have a contact mic on the cymbal, and the signal is being routed into Ableton Live, where its’ be processed through multiple effects. I have some other noise sources running in Ableton as well.
You can download my most recent single here and my album here.
See also:
My interview with The Steven Lasombras
A series of informative posters detailing how some of the most notable drum sequences were programmed using the Roland TR-808 Drum Machine. Each sequence has been analyzed and represented as to allow users to re-programme each sequence, key for key.
If you would like an A3 print please send a mail to shop@robricketts.co.uk and I will email you as soon as some become available.
Theremin saw little of the $100,000 he was paid, Glinsky says, which most likely went straight into Soviet coffers. But he stayed in the US for a while working on other projects, and engaging in industrial espionage.
“His very reason for being sent over was his espionage mission,” says Glinsky. Demonstrating the theremin instrument was just a distraction, a Trojan Horse, as it were.
“He had special access to firms like RCA, GE, Westinghouse, aviation companies and so on, and shared his latest technical know how with representatives from these companies to get them to open up to him about their latest discoveries. […]
Later that year he returned suddenly to the Soviet Union, leaving his wife behind. Some people suggested he’d been kidnapped by Soviet officials, but Glinsky says a combination of debt and homesickness led to Theremin returning voluntarily.
He returned to a Soviet Union in the grip of Stalin’s purges. He was arrested and falsely accused of being a counter-revolutionary, for which he received an eight year sentence in 1939.
This was recorded by playing a broken to shit cymbal with a cello bow and processing the output from a contact microphone. The signal was split into three bands, each band with its own effects chain. This produced a layered, full spectrum piece from a single input.
Special thanks to Trevor Blake and Justin Landers.
You can download it from SoundCloud or BandCamp.
Hump Jones Interview by Rev.R4D4
Justin Boland, aka Hump Jones and about a bazillion other aliases, was recently interviewed by Rev. R4D4 for The Thermonuclear Bar on KZSU Stanford. You might know Justin from his sites Brainsturbator and Skilluminati, his contributions here at Technoccult or from his various hip hop projects on World Around Records.
The Quietus ran a retrospective on Coil‘s career for the one year anniversary of Peter “Sleazy” Christopherson’s death:
Through a potent trinity of chemically-altered states, occult arcana and technological transmutation, Coil was, perhaps, the strangest and occasionally the most frightening of bands. While their twenty year history saw much in the way of personal turmoil and tragedies as they moved through the extreme hedonism and post-AIDS fallout of London’s gay clubland to a more hermetic but no less intoxicated existence on England’s South West coast, John Balance (née Geff Rushton) and Peter ‘Sleazy’ Christopherson remained true to their original intentions to explore, as the cover of their debut release puts it: “How sound can affect the physical and mental state of the serious listener”. Such explorations produced a unique and incomparable body of work that not only charts a most unconventional route through emergent musical technologies, but also signposts a hellishly complex set of references to occult theories and deviant figures throughout history (from Aleister Crowley to William S Burroughs) along the way. But the high physical and mental cost of their creative processes often lead to long gaps in their output. Indeed, the most elusive album in their back catalogue eluded the band themselves: Backwards, originally intended as a follow-up to 1991’s Love’s Secret Domain, was mentioned in the band’s semi-regular updates describing sessions with mainstream players such as Tim Simenon and Trent Reznor, yet the album was never released (although some of the recordings were later re-arranged posthumously for The Ape of Naples and its companion piece, The New Backwards).
The Quietus: Serious Listeners: The Strange And Frightening World Of Coil
This is about underground hip hop, but much of it could apply to almost any scene:
Bars are, for the most part, terrible places to be. Obnoxiously crowded and stupid expensive. The sound system has never been set up right and it’s always too loud. So why do artists keep presenting their blood and guts in these fast food environments? I’ve played shows in beauty salons, backyards and basements and had a great time doing it—there’s not a “tour circuit” for this yet, but there will be soon.
How many shows can you play for a room full of dudes before it’s time to kill yourself in a hotel room? Why don’t more women come to rap shows? That one is easy: because they don’t want to be there. They don’t enjoy themselves, they don’t feel safe and they don’t have fun.
We need more than “Alternative Hip Hop,” and definitely more than another coffee shop for spoken word navel-gazing. We need an alternate Universe, a great & secret show, a Truth & Beauty circuit full of fresh fruit, fine foods and exotic tea from fictional continents. We need daytime shows, midnight gigs on anonymous rooftops, costume concerts and a nationwide revival of Acid Tests from coast to burning coast. We need all four alleged “Elements of Hip Hop” in the same building again—most of all, we need parties worth going to, parties worth putting down your fucking phones for and actually living.
Intonarumoron is a music blog founded by Trevor Blake with contributions from Walter Alter, Waldo Ham, SKot Kirkwood, Jack Winslow and myself.
Here are a couple videos I’ve embedded there recently:
Be sure to wait through/skip past the intro on this one:
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