Genesis P-Orridge on Destroying Preconceptions
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Moment Sound Vol. 1 (MS001 12" Compilation)
MOMENT SOUND 75 Stewart Ave #424, Brooklyn NY, 11237 momentsound.com | 847.436.5585 | [email protected] Moment Sound Vol. 1 (MS001 12" Compilation) a1 - Anything (Slava) a2 - Genie (Garo) a3 - Violence Jack (Lokua) a4 - Steamship (Garo) b1 - Chiberia (Lokua) b2 - Nightlife Reconsidered (Garo) b3 - Cosmic River (Slava) Scheduled for release on March 9th, 2010 The Moment Sound Vol. 1 compilation is the inauguration of the vinyl series of the Moment Sound label. It is comprised of original material by its founders Garo, Lokua and Slava. Swirling analog synths, dark pensive moods and intricate drum programming fill out the LP and at times evoke references to vintage Chicago house, 80's horror-synth, British dub and early electro. A soft, dreamlike atmosphere coupled with an understated intensity serves as the unifying character of the compilation. ….... Moment Sound is a multi-faceted label overseen by three musicians from Chicago – Joshua Kleckner, Garo Tokat and Slava Balasanov. All three share a fascination with and desire to uncover the essence of music – its primal building blocks. Minute details of old and new songs of various genres are sliced and dissected, their rhythmic and melodic elements carefully analyzed and cataloged to be recombined into a new, unpredictable yet classic sound. Performing live electronics together since early 2000s – anywhere from art galleries to grimy warehouse raves and various traditional music venues – they have proven to be an undeniable and highly versatile force in the Chicago music scene. Moment Sound does not have a static "sound". Instead, the focus is on the aesthetic of innovation rooted in tradition – a meeting point of the past and the future – the sound of the moment. -
Reed First Pages
4. Northern England 1. Progress in Hell Northern England was both the center of the European industrial revolution and the birthplace of industrial music. From the early nineteenth century, coal and steel works fueled the economies of cities like Manchester and She!eld and shaped their culture and urban aesthetics. By 1970, the region’s continuous mandate of progress had paved roads and erected buildings that told 150 years of industrial history in their ugly, collisive urban planning—ever new growth amidst the expanding junkyard of old progress. In the BBC documentary Synth Britannia, the narrator declares that “Victorian slums had been torn down and replaced by ultramodern concrete highrises,” but the images on the screen show more brick ruins than clean futurescapes, ceaselessly "ashing dystopian sky- lines of colorless smoke.1 Chris Watson of the She!eld band Cabaret Voltaire recalls in the late 1960s “being taken on school trips round the steelworks . just seeing it as a vision of hell, you know, never ever wanting to do that.”2 #is outdated hell smoldered in spite of the city’s supposed growth and improve- ment; a$er all, She!eld had signi%cantly enlarged its administrative territory in 1967, and a year later the M1 motorway opened easy passage to London 170 miles south, and wasn’t that progress? Institutional modernization neither erased northern England’s nineteenth- century combination of working-class pride and disenfranchisement nor of- fered many genuinely new possibilities within culture and labor, the Open Uni- versity notwithstanding. In literature and the arts, it was a long-acknowledged truism that any municipal attempt at utopia would result in totalitarianism. -
Throbbing Gristle 40Th Anniv Rough Trade East
! THROBBING GRISTLE ROUGH TRADE EAST EVENT – 1 NOV CHRIS CARTER MODULAR PERFORMANCE, PLUS Q&A AND SIGNING 40th ANNIVERSARY OF THE DEBUT ALBUM THE SECOND ANNUAL REPORT Throbbing Gristle have announced a Rough Trade East event on Wednesday 1 November which will see Chris Carter and Cosey Fanni Tutti in conversation, and Chris Carter performing an improvised modular set. The set will be performed predominately on prototypes of a brand new collaboration with Tiptop Audio. Chris Carter has been working with Tiptop Audio on the forthcoming Tiptop Audio TG-ONE Eurorack module, which includes two exclusive cards of Throbbing Gristle samples. Chris Carter has curated the sounds from his personal sonic archive that spans some 40 years. Card one consists of 128 percussive sounds and audio snippets with a second card of 128 longer samples, pads and loops. The sounds have been reworked and revised, modified and mangled by Carter to give the user a unique Throbbing Gristle sounding palette to work wonders with. In addition to the TG themed front panel graphics, the module features customised code developed in collaboration with Chris Carter. In addition, there will be a Throbbing Gristle 40th Anniversary Q&A event at the Rough Trade Shop in New York with Genesis Breyer P-Orridge, date to be announced. The Rough Trade Event coincides with the first in a series of reissues on Mute, set to start on the 40th anniversary of their debut album release, The Second Annual Report. On 3 November 2017 The Second Annual Report, presented as a limited edition white vinyl release in the original packaging and also on double CD, and 20 Jazz Funk Greats, on green vinyl and double CD, will be released, along with, The Taste Of TG: A Beginner’s Guide to Throbbing Gristle with an updated track listing that will include ‘Almost A Kiss’ (from 2007’s Part Two: Endless Not). -
A Study in Scarlet 17
Press kit A Study in Scarlet 17. 05–22. 07.2018 Press visit, Wednesday 16th May, at 9.30am Grand opening, Wednesday 16th May, from 6pm to 9pm With Ethan Assouline, Beau Geste Press, Lynda Benglis, Kévin Blinderman : masternantes, Pauline Boudry / Renate Lorenz, Jean-Louis Brau & Claude Palmer, Monte Cazazza, Chris & Cosey, COUM Transmissions, Vaginal Davis, Brice Dellsperger, Casey Jane Ellison, Harun Farocki, Karen Finley, Brion Gysin, Hendrik Hegray, Her Noise Archive, Robert Morris, Ebecho Muslimova, Meret Oppenheim, Pedro, Muriel & Esther, Lili Reynaud-Dewar, Christophe de Rohan Chabot, Louise Sartor, Throbbing Gristle, Cosey Fanni Tutti, Amalia Ulman and Les Vagues. Exhibition curator : Gallien Déjean Action Jusqu’à la Balle Crystal, 9e Biennale de Paris, 1975 © Courtesy Cosey Fanni Tutti et Cabinet, Londres Contacts : Isabelle Fabre, Communication Manager > +33 1 76 21 13 26 > [email protected] Lorraine Hussenot, Press Officer > +33 1 48 78 92 20 > [email protected] +33 6 74 53 74 17 Le frac île-de-France- reçoit le soutien du le plateau, paris Conseil régional d’Île-de-France, du ministère 22, rue des Alouettes de la Culture – Direction Régionale des Affaires 75 019 Paris, France Culturelles d’Île-de-France et de la Mairie de Paris. T +33 (0)1 76 21 13 20 Membre du réseau Tram, de Platform, fraciledefrance.com regroupement des FRAC et du Grand Belleville 1 Press kit Contents 1. Press release —A Study in Scarlet /p. 3-4 2. Cosey Fanni Tutti, Art Sex Music —Extracts /p. 5 3. Notices /p. 6-16 4. Images available /p. 17-19 5. -
Unpopular Culture and Explore Its Critical Possibilities and Ramifications from a Large Variety of Perspectives
15 mm front 153 mm 8 mm 19,9 mm 8 mm front 153 mm 15 mm 15 mm TELEVISUAL CULTURE TELEVISUAL CULTURE This collection includes eighteen essays that introduce the concept of Lüthe and Pöhlmann (eds) unpopular culture and explore its critical possibilities and ramifications from a large variety of perspectives. Proposing a third term that operates beyond the dichotomy of high culture and mass culture and yet offers a fresh approach to both, these essays address a multitude of different topics that can all be classified as unpopular culture. From David Foster Wallace and Ernest Hemingway to Zane Grey, from Christian rock and country to clack cetal, from Steven Seagal to Genesis (Breyer) P-Orridge, from K-pop to The Real Housewives, from natural disasters to 9/11, from thesis hatements to professional sports, these essays find the unpopular across media and genres, and they analyze the politics and the aesthetics of an unpopular culture (and the unpopular in culture) that has not been duly recognized as such by the theories and methods of cultural studies. Martin Lüthe is an associate professor in North American Cultural Studies at the John F. Kennedy-Institute at Freie Universität Berlin. Unpopular Culture Sascha Pöhlmann is an associate professor in American Literary History at Ludwig-Maximilians-Universität Munich. 240 mm Martin Lüthe and Sascha Pöhlmann (eds) Unpopular Culture ISBN: 978-90-8964-966-9 AUP.nl 9 789089 649669 15 mm Unpopular Culture Televisual Culture The ‘televisual’ names a media culture generally in which television’s multiple dimensions have shaped and continue to alter the coordinates through which we understand, theorize, intervene, and challenge contemporary media culture. -
Les Archives Du Sombre Et De L'expérimental
Guts Of Darkness Les archives du sombre et de l'expérimental avril 2006 Vous pouvez retrouvez nos chroniques et nos articles sur www.gutsofdarkness.com © 2000 - 2008 Un sommaire de ce document est disponible à la fin. Page 2/249 Les chroniques Page 3/249 ENSLAVED : Frost Chronique réalisée par Iormungand Thrazar Premier album du groupe norvégien chz le label français Osmose Productions, ce "Frost" fait suite au début du groupe avec "Vikingligr Veldi". Il s'agit de mon album favori d'Enslaved suivi de près par "Eld", on ressent une envie et une virulence incroyables dans cette oeuvre. Enslaved pratique un black metal rageur et inspiré, globalement plus violent et ténébreux que sur "Eld". Il n'y a rien à jeter sur cet album, aucune piste de remplissage. On commence après une intro aux claviers avec un "Loke" ravageur et un "Fenris" magnifique avec son riff à la Satyricon et son break ultra mélodique. Enslaved impose sa patte dès 1994, avec la très bonne performance de Trym Torson à la batterie sur cet album, qui s'en ira rejoindre Emperor par la suite. "Svarte vidder" est un grand morceau doté d'une intro symphonique, le développement est excellent, 9 minutes de bonheur musical et auditif. "Yggdrasill" se pose en interlude de ce disque, un titre calme avec voix grave, guimbarde, choeurs et l'utilisation d'une basse fretless jouée par Eirik "Pytten", le producteur de l'album: un intemrède magnifique et judicieux car l'album gagne en aération. Le disque enchaîne sur un "Jotu249lod" destructeur et un Gylfaginning" accrocheur. -
Throbbing Gristle’S Late Performances
Guaranteeing Disappointment: Time, Culture, and Transgression in the Context of Throbbing Gristle’s Late Performances. Clint McCallum June 2008 I don't think there's any point in doing anything unless you push yourself. When in doubt--be extreme. -Genesis P-Orridge (Ford, 6.31) Pretty much EVERYONE who pertains to be 'Industrial' has completely missed the point and take the term 'Industrial' far too literally. For us in the 70s'-80s' it was a way of life, a certain mindset and attitude of non-conformity. We were anti- facists, anti-communist, anti-music industry and anti-government. We still are. Industrial Music as a genre has become a Frankenstein's monster and bears no relationship to what we started in the 1970s'. It has become just another metal bashing sub-genre of goth, punk and rock. -Chris Carter (http://www.ikonen-magazin.de/interview/TG.htm) One of the things about Gristle I think, is that we're pretty careful to make sure that we're not lured by the kinda star thing. In fact if there's one single mistake that most bands make, it is their fundamental and underneath, their desire to become rock stars, the same as all the other people, no matter how much they might claim that they don't. The Devos and the Pere Ubu's of this world really want to be rock stars and that's not necessarily a bad thing if that is your intent, if you say 'I'm going to be a rock star and I'm going to do it by making groovy catchy records' there's nothing the matter with making groovy catchy records, but if you do it at the same time as you're saying you're doing something that's socially important and meaningful, then that's trades description act as far as I'm concerned. -
Notes from the Underground: a Cultural, Political, and Aesthetic Mapping of Underground Music
Notes From The Underground: A Cultural, Political, and Aesthetic Mapping of Underground Music. Stephen Graham Goldsmiths College, University of London PhD 1 I declare that the work presented in this thesis is my own. Signed: …………………………………………………. Date:…………………………………………………….. 2 Abstract The term ‗underground music‘, in my account, connects various forms of music-making that exist largely outside ‗mainstream‘ cultural discourse, such as Drone Metal, Free Improvisation, Power Electronics, and DIY Noise, amongst others. Its connotations of concealment and obscurity indicate what I argue to be the music‘s central tenets of cultural reclusion, political independence, and aesthetic experiment. In response to a lack of scholarly discussion of this music, my thesis provides a cultural, political, and aesthetic mapping of the underground, whose existence as a coherent entity is being both argued for and ‗mapped‘ here. Outlining the historical context, but focusing on the underground in the digital age, I use a wide range of interdisciplinary research methodologies , including primary interviews, musical analysis, and a critical engagement with various pertinent theoretical sources. In my account, the underground emerges as a marginal, ‗antermediated‘ cultural ‗scene‘ based both on the web and in large urban centres, the latter of whose concentration of resources facilitates the growth of various localised underground scenes. I explore the radical anti-capitalist politics of many underground figures, whilst also examining their financial ties to big business and the state(s). This contradiction is critically explored, with three conclusions being drawn. First, the underground is shown in Part II to be so marginal as to escape, in effect, post- Fordist capitalist subsumption. -
“I Was in a Position to Dismantle It”: Industrial Music
“I WAS IN A POSITION TO DISMANTLE IT”: INDUSTRIAL MUSIC APPROPRIATIONS OF WILLIAM S. BURROUGHS by Joseph Vecchio, A.A., B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Music with a major in Music May 2014 Committee Members: Kevin Mooney, Chair Ludim Pedroza Charles Ditto COPYRIGHT by Joseph Vecchio 2014 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Joseph Vecchio, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. DEDICATION To Ruth, with all of my love. ACKNOWLEDGEMENTS I would like to thank Dr. Kevin Mooney for his unwavering support for this project, enthusiasm about the material, and wonderful editorial remarks. Thank you to Dr. Ludim Pedroza for being a true inspiration for a multidisciplinary approach to musicology. Thank you to Dr. Charles Ditto for his membership on my committee and eagerness to see this project carried to fruition. Ruth Vecchio, your knowledge of industrial music is encyclopedic and has been an extremely valuable tool in aiding the completion of this project, and your help with editing has been invaluable. -
Finding Aid for the Robert Sobieszek Archive, 1836-2005
Center for Creative Photography The University of Arizona 1030 N. Olive Rd. P.O. Box 210103 Tucson, AZ 85721 Phone: 520-621-6273 Fax: 520-621-9444 Email: [email protected] URL: http://creativephotography.org Finding aid for the Robert Sobieszek Archive, 1836-2005 AG 232 Finding aid created by Lenox Wiese, October 2016 AG 232: Robert Sobieszek Archive - page 2 Robert Sobieszek Archive, bulk 1836-2005 AG 232 Creator Sobieszek, Robert A., 1943-2005 Abstract Papers and materials, 1836-2005, collected and created by Robert A. Sobieszek (1943- 2005) are associated with his career as curator of photography at George Eastman House and LACMA. The entire collection spans 76.6 linear feet, the bulk of which includes research materials, publications, and writings related to Sobieszek’s major book and exhibition projects, specifically focused on his work associated with William S. Burroughs, Ghost in the Shell: Photography and the Human Soul, 1850-2000, and 19th C. Photography. The collection also includes Sobieszek’s teaching and lecture files as well as minimal amounts of biographical material. Quantity/ Extent 76.6 linear feet Language of Materials English and French Biographical Note Robert Sobieszek (1943-2005) was a diligent scholar, an active writer and lecturer, and a revered curator of photography. He began his career in 1968, working as a curatorial assistant at George Eastman House in New York after receiving a bachelor’s degree in fine arts from the University of Illinois in 1965. Sobieszek went on to earn a master’s degree in art history from Stanford University in 1969 and later, a master’s degree in philosophy from Columbia University in 1981. -
Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 A Dissertation Presented by Jason James Hanley to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philsophy in Music (Music History) Stony Brook University August 2011 Copyright by Jason James Hanley 2011 Stony Brook University The Graduate School Jason James Hanley We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Judith Lochhead – Dissertation Advisor Professor, Department of Music Peter Winkler - Chairperson of Defense Professor, Department of Music Joseph Auner Professor, Department of Music David Brackett Professor, Department of Music McGill University This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 by Jason James Hanley Doctor of Philosophy in Music (Music History) Stony Brook University 2011 The British band Throbbing Gristle first used the term Industrial in the mid-1970s to describe the intense noise of their music while simultaneously tapping into a related set of aesthetics and ideas connected to early twentieth century modernist movements including a strong sense of history and an intense self-consciousness. This model was expanded upon by musicians in England and Germany during the late-1970s who developed the popular music style called Industrial as a fusion of experimental popular music sounds, performance art theatricality, and avant-garde composition. -
Throbbig Gristle Remastered Press Release
PRESS RELEASE THROBBING GRISTLE REMASTERED Industrial Records Ltd. are pleased to announce the rerelease of Throbbing Gristle's first five albums on vinyl, CD and as digital downloads. Each album has been restored and remastered specifically for each format by Chris Carter from 24bit 'baked tape' digital transfers of the original first generation analogue master tapes. VINYL The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. In addition each of the vinyl releases include an exclusive large format 8-page colour booklet featuring an abundance of Throbbing Gristle archival material and previously unpublished photos of the band. Each vinyl release is limited to 2000 copies. CD Each of the CD special-editions are presented in a gatefold sleeve featuring restored and remastered cover artworks and an integrated 8-page booklet (* the booklets feature different artworks and content to the vinyl editions). While the CD releases feature the same track count and running order as the vinyl editions each CD special-edition also includes an exclusive bonus CD containing content from the year of the albums original release. This additional content includes TG live tracks and remastered singles. The Greatest Hits CD special-edition also includes two previously unreleased Throbbing Gristle mixes from the 1980s'. DIGITAL DOWNLOADS For the first time each of these first five Throbbing Gristle albums will be available as remastered digital downloads. Each album will be available in numerous formats (aac, mp3, flac) and to buy on a track by track basis or as a complete album.