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Hidden Hydrology COIL’S ‘Lost Rivers’ Sessions 1995-1996
Hidden Hydrology COIL’s ‘Lost Rivers’ Sessions 1995-1996 {Fan Curated EP} COIL - The ‘Lost Rivers’ Sessions 1995-1996 {Fan Curated EP} Lost Rivers of London Succour Version [DAT Master]. Untitled Instrumental #6 [DAT #30] 5 takes from the BLD Sessions 1995-1996. London’s Lost Rivers [Take #2 - vocals] Rough vocal track w. minimal backing mix. Lost Rivers of London [Take #1] Early version with vocals. Crackanthorpe; Sunrise Reading from Vignettes by Phil Barrington. London’s Lost Rivers [Take #1] Initial studio version with abrupt ending. [Cover Version] By The Psychogeographical Commission. Hidden Hydrology COIL's 'Lost Rivers' Studio Sessions COIL's "Lost Rivers" sessions were recorded during the Winter period of December 1995- February 1996 at COIL's own "Slut's Hole" studio in London. The day-long sessions were part of what ultimately became the "A Thousand Lights In A Darkened Room" album (at least as far as the vinyl pressing of that album went), though were apparently very rushed recordings (Jhonn later claimed that the full vocal version was written and recorded in one day to meet the “Succour” compilation deadline - Jhonn’s wraparound vocals were not redone for the BLD track). Around this winter time Jhonn Balance received a fax from David Tibet containing evocative passages from the Crackanthorpe "Vignettes" journal, originally published 100 years earlier (1896). Jhonn loved the sections he read and swiftly used passages as lyrics for the recording sessions to meet the Succour deadline (lifting text from the ‘On Chelsea Embankment’ and “In Richmond Park” sections of the small book). At the very same time as recording this track, the official (and long-awaited) 2nd Edition of the Nicholas Barton book called "The Lost Rivers of London" appeared in the bookshops of the city. -
Coil Another Brown World / Baby Food Mp3, Flac, Wma
Coil Another Brown World / Baby Food mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Another Brown World / Baby Food Country: Belgium Released: 2017 Style: Industrial, Experimental MP3 version RAR size: 1468 mb FLAC version RAR size: 1195 mb WMA version RAR size: 1667 mb Rating: 4.4 Votes: 169 Other Formats: MP4 AHX WMA AC3 MMF VOC MP1 Tracklist Hide Credits Another Brown World A Producer [Produced By], Mixed By – CoilRecorded By – Danny HydeWritten-By – John Balance, Peter Christopherson Baby Food B Performer [Essentials] – Danny HydePerformer [Fundamentals] – Peter ChristophersonPerformer [Vibrant Rays Of Spiritual Psychosis] – John BalanceWritten-By, Performer [Performed By] – Coil Companies, etc. Recorded At – Threshold House Pressed By – Record Industry – 9543 Notes Side A: Recorded by Danny Hyde at Threshold House, London, Summer 1989. Vocals recorded at the Animist Monastery situated at the Summit of Mount Popa in Pagan, Burma. First issued 1989 on Myths 4 • Sinople Twilight In Çatal Hüyük compilation. Side B issued 1993 on Chaos In Expansion compilation. Both tracks were commissioned by Sub Rosa. Barcode and Other Identifiers Barcode: 5411867114437 Matrix / Runout (Side A, stamped): 9543 2A SRV443 Matrix / Runout (Side B, stamped): 9543 2B SRV443 Other versions Category Artist Title (Format) Label Category Country Year SRV443 Coil Another Brown World / Baby Food (LP, Comp) Sub Rosa SRV443 Belgium 2017 Related Music albums to Another Brown World / Baby Food by Coil 1. Coil - The Restitution Of Decayed Intelligence 2. Coil - Panic / Tainted Love 3. Danny Peppermint - One More Time / La Dee Dah 4. Blue Jay Boys - My Baby / Brown Skin Mama 5. Coil - Horse Rotorvator 6. -
Off the Pedestal, on the Stage: Animation and De-Animation in Art
Off the Pedestal; On the Stage Animation and De-animation in Art and Theatre Aura Satz Slade School of Fine Art, University College, London PhD in Fine Art 2002 Abstract Whereas most genealogies of the puppet invariably conclude with robots and androids, this dissertation explores an alternative narrative. Here the inanimate object, first perceived either miraculously or idolatrously to come to life, is then observed as something that the live actor can aspire to, not necessarily the end-result of an ever evolving technological accomplishment. This research project examines a fundamental oscillation between the perception of inanimate images as coming alive, and the converse experience of human actors becoming inanimate images, whilst interrogating how this might articulate, substantiate or defy belief. Chapters i and 2 consider the literary documentation of objects miraculously coming to life, informed by the theology of incarnation and resurrection in Early Christianity, Byzantium and the Middle Ages. This includes examinations of icons, relics, incorrupt cadavers, and articulated crucifixes. Their use in ritual gradually leads on to the birth of a Christian theatre, its use of inanimate figures intermingling with live actors, and the practice of tableaux vivants, live human figures emulating the stillness of a statue. The remaining chapters focus on cultural phenomena that internalise the inanimate object’s immobility or strange movement quality. Chapter 3 studies secular tableaux vivants from the late eighteenth century onwards. Chapter 4 explores puppets-automata, with particular emphasis on Kempelen's Chess-player and the physical relation between object-manipulator and manipulated-object. The main emphasis is a choreographic one, on the ways in which live movement can translate into inanimate hardness, and how this form of movement can then be appropriated. -
NO TEA, NO SHADE This Page Intentionally Left Blank No Tea, NO SHADE
NO TEA, NO SHADE This page intentionally left blank No Tea, NO SHADE New Writings in Black Queer Studies EDITED BY E. Patrick Johnson duke university press Durham & London 2016 © 2016 Duke University Press All rights reserved Printed in the United States of Amer i ca on acid- free paper ∞ Typeset in Adobe Caslon by Westchester Publishing Services Library of Congress Cataloging- in- Publication Data Names: Johnson, E. Patrick, [date] editor. Title: No tea, no shade : new writings in Black queer studies / edited by E. Patrick Johnson. Description: Durham : Duke University Press, 2016. | Includes bibliographical references and index. Identifiers: lccn 2016022047 (print) lccn 2016023801 (ebook) isbn 9780822362227 (hardcover : alk. paper) isbn 9780822362425 (pbk. : alk. paper) isbn 9780822373711 (e- book) Subjects: lcsh: African American gays. | Gay and lesbian studies. | African Americans in popu lar culture. | Gays in popu lar culture. | Gender identity— Political aspects. | Sex in popu lar culture. Classification: lcc e185.625.n59 2016 (print) | lcc e185.625 (ebook) | ddc 306.76/608996073— dc23 lc rec ord available at https:// lccn . loc . gov / 2016022047 Cover art: Philip P. Thomas, Sharing Tea, 2016. © Philip P. Thomas. FOR ALL THE QUEER FOREMOTHERS AND FOREFATHERS This page intentionally left blank CONTENTS foreword Cathy J. Cohen xi acknowl edgments xv introduction E. Patrick Johnson 1 CHAPTER 1. Black/Queer Rhizomatics Train Up a Child in the Way Ze Should Grow . JAFARI S. ALLEN 27 CHAPTER 2. The Whiter the Bread, the Quicker You’re Dead Spectacular Absence and Post-Racialized Blackness in (White) Queer Theory ALISON REED 48 CHAPTER 3. Troubling the Waters Mobilizing a Trans* Analytic KAI M. -
Weirdo Canyon Dispatch 2018
Review: Roadburn Thursday 19th April 2017 By Sander van den Driesche It’s that time of the year again, the After Yellow Eyes it’s straight to the much anticipated annual pilgrimage to Main Stage to see Dark Buddha Rising Tilburg to join with many hundreds of perform with Oranssi Pazuzu as the travellers for Walter’s party at Waste of Space Orchestra, which is Roadburn. As I get off the train the another highly anticipated show, and in heat kicks me right in the face, what a this case one that won’t be played massive difference to the dull and rainy anywhere else (as far as I know). What morning I left behind in Scotland. This happened on that big stage was is glorious weather for a Roadburn phenomenal, we witnessed a near hour Festival! Bring it on! of glorious drone-infused psychedelic proggy doom. In fact, it felt a bit too early for me personally in the timing of the festival to experience such an extraordinarily mind-blowing set, but it was a remarkable collaboration and performance. I can’t wait for the Live at Roadburn release to come out (someone make it happen please!). Yellow Eyes by Niels Vinck After getting my bearings with the new venues, I enter Het Patronaat for the first of my highly anticipated performances of the festival, Yellow Eyes. But after three blistering minutes of ferocious black metal the PA system seems to disagree and we have our first “Zeal & Ardor moment” of 2018. It’s Waste of Space Orchestra by Niels Vinck not even remotely funny to see the On the same Main Stage, Earthless Roadburn crew frantically trying to played the first of their sets as figure out what went wrong, but luckily Roadburn’s artist in residence. -
Navigating Noise Means Getting Off the Beaten Track in Order to Find, Or Rather, to Create Something New
Navigating Noise means getting off the beaten track in order to find, or rather, to create something new. This publication is the result of such unconventional navigations, which follow the track of noise on its path across art, science, and the humanities. The point of departure is the artwork Navigating Navigating Noise by Kerstin Ergenzinger. This ephemeral, somewhat Navigating out-worldly sound installation provides the framework for a collection of academic and artistic contributions that address the need for alternative means of orientation to deal with noise and to understand and (re)establish our unstable position within a highly technologized, mediated, and globalized reality. These navigations cover a broad terrain of research: from the starry skies to the deep oceans, from the ice cores of Greenland to sonic navigation in the animal kingdom, from spatial acoustics in World War I to noise music. Through a multidisciplinary approach, Navigating Noise paves the way for unexpected connections between research domains located at the border of knowing and not knowing. This endeavour tries to dig through and below existing semantic and epistemic systems. The contributors scrutinize the binary dichotomies of noise/information, noise/meaning, and noise/silence in order to reconfigure the relational framework that is constituted by these dichotomies. Released from this, noise no longer serves as the unwanted, semantic-free, and inefficient antithesis Noise that should be discarded, but rather embodies a dynamic, unpredictable, yet constitutive force with which we can soar towards more agile forms of sonic sense production. Noise Noise is the dynamic condition of the possibility for any form of meaning. -
New Releases & Discoveries 2017 (Click for PDF)
January 1, 2016 56 seasons by flyingdeadman (France) https://flyingdeadman.bandcamp.com/album/56-seasons-2 released January 5, 2017 When You're Young You're Invincible by Dayluta Means Kindness (El Paso, Texas) https://dayluta.bandcamp.com/album/when-youre-young-youre-invincible released January 6, 2017 Icarus by Sound Architects (Quezon City, Philippines) https://soundarchitects.bandcamp.com/track/icarus released January 6, 2017 0 by PHONOGRAPHIA (attenuation circuit - Augsburg, Germany) https://emerge.bandcamp.com/album/0-2 released January 1, 2017 Chill Kingdom by The American Dollar (New York) https://theamericandollar.bandcamp.com/track/chill-kingdom released January 1, 2017 Anticipation of an Uncertain Future by Various Artists (Preserved Sound - Hebden Bridge, UK) https://preservedsound.bandcamp.com/album/anticipation-of-an-uncertain-future released January 1, 2017 Swimming Through Dreams by Black Needle Noise with Mimi Page (Oslo, Norway) https://blackneedlenoise.bandcamp.com/track/swimming-through-dreams released January 1, 2017 The New Empire by cétieu (Warsaw, Poland) https://cetieu.bandcamp.com/album/the-new-empire released January 1, 2017 Live at the Smilin' Buddha Cabaret by Seven Nines & Tens (Vancouver) https://sevenninesandtens.bandcamp.com/album/live-at-the-smilin-buddha-cabaret released January 1, 2017 EUPANA @ VIVID POST-ROCK FESTIVAL-2016 https://www.youtube.com/watch?v=dcX3VKgaVsE Published on 1 Jan 2017 Clones by Vacant Stations (UK) https://vacantstations.bandcamp.com/album/clones released January 1, 2017 Presence, -
Slugmag.Com 1
slugmag.com 1 SaltLakeUnderGround • Vol. 25 • Issue #310 • October 2014 • slugmag.com ABOUT THE COVER: There’s something out there, right in our back yard—in Ft. Duchesne, Utah, where Publisher: Eighteen Percent Gray Marketing Coordinator: people often report sightings of lights, noises and Editor: Angela H. Brown Robin Sessions voices possibly associated with UFOs. Revel in illus- Managing Editor: Alexander Ortega Marketing Team: Alex Topolewski, Carl Acheson, trator Robin Banks’ sensationalized presentation of Junior Editor: Christian Schultz Cassie Anderson, Cassie Loveless, Ischa B., Janie this Northeastern Utah point of interest. SLUG Senior Office Coordinator:Gavin Sheehan Greenberg, Jono Martinez, Kendal Gillett, Rachel Staff Writer Cody Kirkland went down to investi- Fact Checker: Henry Glasheen Roller, Raffi Shahinian, Robin Sessions, Zac Freeman gate—read his story on pg. 36. Copy Editing Team: Alex Cragun, Alexander Social Media Coordinator: Catie Weimer Ortega, Allison Shephard, Christian Schultz, Cody Distribution Manager: Eric Granato DISCLAIMER: SLUG Magazine does not necessarily Kirkland, Genevieve Smith, Henry Glasheen, Distro: Adam Okeefe, Eric Granato, John Ford, maintain the same opinions as those found in our John Ford, Jordan Deveraux, Julia Sachs, Maria Jordan Deveraux, Julia Sachs, Michael Sanchez, content. We seek to circulate ideas and dialogue Valenzuela, Mary E. Duncan, Shawn Soward, Traci Nancy Burkhart, Nancy Perkins, Nate Abbott, Ricky through quality coverage of contemporary music, art, Grant Vigil, Ryan Worwood, Tommy Dolph, Tony Bassett, action sports and the subcultures therein … except Content Consultants: Jon Christiansen, Xkot Toxsik rollerblading. Content is property of SLUG Magazine— Matt Hoenes Senior Staff Writers: Alex Springer, Alexander Cover Illustration: Robin Banks Ortega, Ben Trentelman, Brian Kubarycz, Brinley please do not use without written permission. -
Quantifying Music Trends and Facts Using Editorial Metadata from the Discogs Database
QUANTIFYING MUSIC TRENDS AND FACTS USING EDITORIAL METADATA FROM THE DISCOGS DATABASE Dmitry Bogdanov, Xavier Serra Music Technology Group, Universitat Pompeu Fabra [email protected], [email protected] ABSTRACT Discogs metadata contains information about music re- leases (such as albums or EPs) including artists name, track While a vast amount of editorial metadata is being actively list including track durations, genre and style, format (e.g., gathered and used by music collectors and enthusiasts, it vinyl or CD), year and country of release. It also con- is often neglected by music information retrieval and mu- tains information about artist roles and relations as well sicology researchers. In this paper we propose to explore as recording companies and labels. The quality of the data Discogs, one of the largest databases of such data available in Discogs is considered to be high among music collec- in the public domain. Our main goal is to show how large- tors because of its strict guidelines, moderation system and scale analysis of its editorial metadata can raise questions a large community of involved enthusiasts. The database and serve as a tool for musicological research on a number contains contributions by more than 347,000 people. It of example studies. The metadata that we use describes contains 8.4 million releases by 5 million artists covering a music releases, such as albums or EPs. It includes infor- wide range of genres and styles (although the database was mation about artists, tracks and their durations, genre and initially focused on Electronic music). style, format (such as vinyl, CD, or digital files), year and Remarkably, it is the largest open database containing country of each release. -
17-06-27 Full Stock List Drone
DRONE RECORDS FULL STOCK LIST - JUNE 2017 (FALLEN) BLACK DEER Requiem (CD-EP, 2008, Latitudes GMT 0:15, €10.5) *AR (RICHARD SKELTON & AUTUMN RICHARDSON) Wolf Notes (LP, 2011, Type Records TYPE093V, €16.5) 1000SCHOEN Yoshiwara (do-CD, 2011, Nitkie label patch seven, €17) Amish Glamour (do-CD, 2012, Nitkie Records Patch ten, €17) 1000SCHOEN / AB INTRA Untitled (do-CD, 2014, Zoharum ZOHAR 070-2, €15.5) 15 DEGREES BELOW ZERO Under a Morphine Sky (CD, 2007, Force of Nature FON07, €8) Between Checks and Artillery. Between Work and Image (10inch, 2007, Angle Records A.R.10.03, €10) Morphine Dawn (maxi-CD, 2004, Crunch Pod CRUNCH 32, €7) 21 GRAMMS Water-Membrane (CD, 2012, Greytone grey009, €12) 23 SKIDOO Seven Songs (do-LP, 2012, LTM Publishing LTMLP 2528, €29.5) 2:13 PM Anus Dei (CD, 2012, 213Records 213cd07, €10) 2KILOS & MORE 9,21 (mCD-R, 2006, Taalem alm 37, €5) 8floors lower (CD, 2007, Jeans Records 04, €13) 3/4HADBEENELIMINATED Theology (CD, 2007, Soleilmoon Recordings SOL 148, €19.5) Oblivion (CD, 2010, Die Schachtel DSZeit11, €14) Speak to me (LP, 2016, Black Truffle BT023, €17.5) 300 BASSES Sei Ritornelli (CD, 2012, Potlatch P212, €15) 400 LONELY THINGS same (LP, 2003, Bronsonunlimited BRO 000 LP, €12) 5IVE Hesperus (CD, 2008, Tortuga TR-037, €16) 5UU'S Crisis in Clay (CD, 1997, ReR Megacorp ReR 5uu2, €14) Hunger's Teeth (CD, 1994, ReR Megacorp ReR 5uu1, €14) 7JK (SIEBEN & JOB KARMA) Anthems Flesh (CD, 2012, Redroom Records REDROOM 010 CD , €13) 87 CENTRAL Formation (CD, 2003, Staalplaat STCD 187, €8) @C 0° - 100° (CD, 2010, Monochrome -
BAD MUSIC and the End of Thought
I'm BAD! bad (adj.) c. 1200, "inferior in quality;" early 13c., "wicked, evil, vicious," a mystery word with no apparent relatives in other languages. music (n.) mid-13c., musike, from Old French musique (12c.) and directly from Latin musica "the art of music," also including poetry (also source of Spanish musica, Italian musica, Old High German mosica, German Musik, Dutch muziek, Danish musik), from Greek mousike (techne) "(art) of the Muses," from fem. of mousikos "pertaining to the Muses," from Mousa "Muse" (see muse ). Modern spelling from 1630s. In classical Greece, any art in which the Muses presided, but especially music and lyric poetry. ... muse (v.) "to reflect, to be absorbed in thought," mid-14c., from Old French muser (12c.) "to ponder, dream, wonder; loiter, waste time," literally "to stand with one's nose in the air" (or, possibly, "to sniff about" like a dog who has lost the scent), from muse "muzzle," from Gallo-Roman *musa "snout," of unknown origin. BAD MUSIC and the end of thought. JLIAT/James Whitehead © James Whitehead 2016 ISBN 978-1-326-76586-6 www.jliat.com Contents 1 Preface 1 2 Introduction 4 3 The Image of Music as The Image of Thought 7 4 The Plane of Music and the Plane of Immanence 24 5 Conclusion 37 6 The End of Thought 57 7 Bad 81 8 The Divinity of Insatiable Desire 99 Bad Music Preface. This short piece1 was provoked by some thoughts about music which is produced in the current milieu in art, in music in particular within post- modernity (or post-post…) where theory has been applied, abandoned, where silence and noise explored. -
Download and Print It Yourself
TeRRoR #1 2010 Arma Bitter/Terg Bizarre Uproar Brethren Clew of Theseus Clo Goelach Coma Detox Gas Chamber Haare Hum of the Druid Knurl McKaras Molester Mourmansk 150 Wertham reviews and more REVIEWS EDITORIAL After huge delays and so on finally the first forces, but we'll see when the time comes. Of issue of terror is out. Since the first thought course if somebody is willing to contribute somewhere around 2007-2008 something some art, especially written stuff, I'll gladly has changed and will of course change in the consider that. There were plans for this issue future. At first there were plans to make online to have a separate corner for some writings + paper issue of the zine so though these remained that the information would plans. Perhaps for the fu- circulate online, but also ture. I'm also very happy sooner or later it would be that since these years of si- put into paper. Anyways, lence (or at least that since that's good for re- seemed to me) some views, interviews are not printed zines appeared. that cup of tea and so after Misanthropy, Special Inter- publishing bigger part of this ests and so on. It seems issue's interviews online, I fi- that we're not moving to 0 nally decided to make things and 1 yet with full bodies a little different. From now and that's great. Without on interviews will go online any more twaddling I'd like (with the agreement of the to say huge thanks to interviewees) just after the everyone who had shared next issue is published.