Friday, June 30, 2006

esperanto side-project

esperanto side-project

Wednesday, June 28, 2006

classwar karaoke



Monday, June 26, 2006

Pig Ignorant, Cafe Abdab, 2006

Eno-Ob-Scene-O, Cafe Abdab, 2005

Sunday, June 25, 2006

Woody Allen

J.G. Power-Ballard, Cafe Abdab, 2006

Xy Satie & Pie Dinner, Cafe Abdab, 2006

Lee Lifeson-Peart, Cafe Abdab, 2006

Soutine Routine, Cafe Abdab, 2006



attenuated isou

weather chooses the target

Porno Adorno, Belfast, 2005

Saturday, June 24, 2006







Friday, June 23, 2006

figural ditto

Now playing drums for Prime Suspect


mover unmoved / solver unsolved

Oxford Road




Glad the 'comic' passages appealed to you. I, also, like that area. You're right to identify it in my visual stuff. That's exactly my thing: surrealism/gallows humour. Chris Morris' 'Jam' is a big thing with me. Similarly, I don't want it to be too 'beardy, po-faced'. This is a potentially interesting area that is often overlooked in improv/experimental music. Great that you want to get into the drums - expanding the kit. There are some nice tympani in that Roland, I seem to remember - to be going on with. I like bell-type things myself; and those very tiny cymbals... are they called crotales? Percussion is a lovely area. Most drummers don't bother. I look forward to this becoming part of murmurists. It will suit you better I think than the electronic devices stuff, like the Electribe (is it called?). As you said, and I agree, there's a lot of that going on already with L and me. That said, the washboard/delay/fx/contact mic set-up I do like. That's just processed percussion, though; rather than an entirely unrelated and separate set of noise-making boxes. Sizzle is a great thing, I think. If you've got some old cymbal lying around, why not get the drill out and make a homemade one! Springs are wonderful things to add to things that vibrate. You could make a Prepared Drum Kit - as John Cage did with the piano.

Xy Satie, Cafe Abdab, 2006

heidegger ponygirl

Jape Clogger, Cafe Abdab, 2005

says, out loud, '...the oaks are just too lofty...'. Dials in a typing finger adding, '...and they grab up all the light...'.

Grievance Dave Mignon, Cafe Abdab, 2005

idoiolectioneer g steiner

Thursday, June 22, 2006

Porno Adorno, Cafe Abdab, 2006

Pig Ignorant, Cafe Abdab, 2005

red guitar is broken

Lucy Lippard

viz Native, as a nostalgic object

battle clue
manor stone
the pleasure park
42nd parallel
./down sinners
./we can be kings

viz Gnarl, as a nostalgic object

breathing sand
king of the elevator
if a body
christ thirst
pit lochry
lady of situations
the perfect three
the opening
the hole
sensation machine
singing village
jaws melt
burning seagulls
the limit
negotiating slats
body of another man


That's all great to me. I like those nuanced things. It's where I want to go myself. What happens too many times in bands, though, is that subtlety like that gets lost in a big rock din of rhythm/texture/noodling: the grey soup we want to avoid, and mostly do, I think. As a rule, I'd like to stick to periods of very very little, almost taking turns between the three of us to push things into the fore, like pass the parcel; then periods of utter horror-punk overkill. I'd like the changes between the two to be very sudden, also; rather than the 5 minute improv climb up and down. That's dynamics. The Scott Walker album does this; and it ties in with that Cremaster punk band reference I told you about when I first met you. Great thing on myspace, music-wise, is a band from France called 3. and at Amazing pieces they have posted: drums/bass&guitar/laptop. I'm thinking of leaving the bass at home for tonight. Never played without some kind of guitar.


Cheers * Hey*************! Art Bears are very interesting by the way; related to Henry Cow. Fred Frith is an interest of mine. His 'Crossing the Border' DVD is astounding; it just inspires. Anyway... Not fully sure what you mean by constant rhythm throughout. For the Wolverton gig it might be an idea not to be too ambient, but, generally, I like those moments/passages very much in our playing, and would want to retain them. Of course, you being a drummer, one would assume rhythm is your thing. This is what I wanted to open up with you. I'm fully ok with idea of you playing drums, really getting into that side of it. There are as many possibilities attached to that as there are with laptops, electronics, etc. It's all just sound after all. I think, though, that the drums would have to be used both as is and in other, more elaborate ways, extending their role by triggering things, radically altering the sounds, playing - say - basslines, sequences, guitar sounds, electronics, etc. by drumming. That Roland Pad thingy does this very well; and there's that idea about contact mics. With improv - unless it's Jazz - for me, it's not interesting to hear one type of sound throughout. I'm not into hearing my own bassplaying for 45 mins/an hour. Years ago, when I was a much better bassplayer than I am now - because I practiced all the time - I did used to just play bass. If one does commit to one instrument, though, one has to get into that virtuoso thing. It just becomes centrally important to get really great on one's instrument. Personally, I'm more interested today in sound itself. Playing, as it were, is secondary. The Art Bears thing made me think of pretty obvious things, really. I like the idea of thinking before one creates, erecting limitations, etc. Rhythm suggests short durational episodes - a flam, a crash, etc. But electronics offer the opportunity for rethinking this, or at least adding to it. One time, a china cymbal or a sizzle, or a snare roll, was all a drummer could use to add sustain. Now you can create a drone of 25 mins, by hitting a pad; you can change it's pitch, send it backwards by hitting another. Perhaps think of vocal rhythms - da dadada da da dada dada da dadadadada da da da dadadadada da da dada (!), or introduce Fibonacci numbers, creating figures based upon that structure. Augment the drums and cymbals with other objects; alter the drums and cymbals - ie. long resonating springs on a cymbal, like a snare-cymbal hybrid, pick that up with a deftly-placed contact mic. Do the old bowing cymbals thing. Get an old spring reverb, hit that. Makes a great noise. Our hamster cages make great noises, too, when one hits them! The bars can be played like guitar strings, too! You do this brilliantly with the washboard, I think. It makes an inexplicable sound: it sounds electronic, but the brain/ear detects an acoustic quality. That's an interesting area for you - as an essentially electro-acoustic musician - to operate within. It's very exciting! If I was a drummer I would think in terms of it as foley - you know that old-fashioned film sound effects thing. See you at 7pm. Anthony

Wednesday, June 21, 2006

aura/l man erg

Walts Benjamin & Disney, digressing






Inessential Assemblies Laughing Like a Drain


Chris Cutler/Fred Frith/Dagmar Krause

Tuesday, June 20, 2006

viz 30th June 2006

Possibly said by Mad Cow Pate (promoter of event in question): '...[b]THE MURMURISTS[/b] are an electronic ZZZZZRRRRRROOOOOOOWWWWWW-type outfit from Northampton who do lots of "Wire"-reading circuit-bent noisemongery á la Fennesz, Merzbow, Hecker, and the like. It's their first go at Milton Keynes and they're dead game for it. They also feature '70s punk veteran Dee Generate (of Eater, one of the few Brit bands who done that ATP fing with Dinosaur Jr)!...'. murmurists to play Old Queen Vic, Wolverton, near Milton Keynes, Bucks., UK, on 3oth June 2006.


Jape Clogger, Cafe Abdab, 2006

key grip

Found Duc Hamp