January 2003 - zorn-list - mailman.xmission.com

SNOTNOSED (HANATARASHI tribute) - GIG REVIEW
by Michael Gillham 28 Jan '03

28 Jan '03

Snotnosed aka Pisshole Surfers (a tribute to The Hanatarashi/Hanatarash) Live Shit Action 0,000,001 @ The Chillingham Arms, Heaton, Newcastle. Due to electronic problems (or excesses) Snotnosed faced an early hitch with their electronic equipment. As a result, they were forced to rely on "acoustic" instruments, such as Glass, sheets of metal, a large metal bin, crockery, Junk and a large slegehammer! (In hindsight the lack of electronics was probably a blessing, as it forced them to work twice as hard at causing as much damage to the venue, themselves and everyone else in it). Unphased by the lack of electronics, after a few largely unintelligable words were shouted (It sounded like it could have been "fuck all noise musicians, we are Disco Pop!", or something like that) the fun and games began. Within minutes the guitars was smashed in half, and glass and metal was flying everywhere, creating a carpet of smashed junk in the small upstairs room, all conducted to the soundtrack of amplified destruction and ear piercing feedback. Throughout the performance one member (sporting a mask of some kind, which looked like something a diver in an old sci fi might wear) spent most of the show in the background making a racket with whatever junk he could lay his hands on to smash, whilst the other perched himself in the centre of the small room, causing as much chaos and damage as possible with the sledgehammer (the venues lighting, and floor/roof of the main room seemed to be firm favourites). It's hard to describe how insane the whole thing looked at this point, and it can only partly be illustrated by the fact that one member had his foot broken in three places by a flying turntable threw by the other member........... and failed to realise. In what seemed like a few minutes later the destruction and madness drew to a close, with Snotnosed taking a bow. Seconds later, following the shout of encore! They were at it again, amps were randomley hurled around, the sledgehammer was put to further good use, and to top it all off nicely, they finished up by having one member dive head first into a bin full on junk, and the pouring it over his head. Another bow and it was all over. The lights came on to reveal a sea of glass and metal junk, a whole load of smashed equiptment, a less than happy looking club owner, a broken foot, puzzled/shocked faces, and quite a few ringing ears. This was everything you you could ask for from a tribute to The Hanatarashi. No stupid arty attitude, just great fun, senseless destruction and absolute madness! Dean Glaister. __________________________________________________ Do You Yahoo!? Everything you'll ever need on one web page from News and Sport to Email and Music Charts http://uk.my.yahoo.com

1 0

Ikue Mori - Mephista
by Parry Gettelman 28 Jan '03

28 Jan '03

The Mephista show at the Contemporary Arts Center here in New Orleans last night was beautiful and engrossing -- but interesting as Mori's electronic contributions were, I think it would probably have been just as intense w/ just Susie Ibarra and Sylvie Courvoisier. The visual contrast was, however, quite amusing -- Courvoisier swooping upon the innards of the piano, Ibarra's movements so swift yet so precise, as though every gesture were part of an elaborately choreographed ritual -- even when she dropped some of her little clackety percussion thingies well to the side of her seat and had to scoop them up. And then there was Mori pecking away like a programmer alone in her cubicle. Ibarra seemed to be watching and reacting to Courvoisier the majority of the time during the pieces. Parry

1 0

Re: Spring Heel Jack (No Zorn)
by Richard Gardner 28 Jan '03

28 Jan '03

> Hows the CDs? > Marvellous. Just go and buy them.

2 1

KK Null
by Taylor McLaren 28 Jan '03

28 Jan '03

So I went to a pretty impressive KK Null show a couple of nights ago (his set with Yamamoto Seiichi as Ontoko was disappointing -- basically a bunch of high-pitched twaddle, punctuated by about five minutes of real interaction between the two in the middle -- but solo... WOW.), and was quite taken with what he was able to do with a pair of scratch-DJ-style CD players and a couple of effects boxes... there was rhythm, there was flat-out destruction, and there was even something that felt like the noise equivalent of the climactic finale to the greatest opera ever. I spent accordingly at the merch table. Anyway, one of the discs that I picked up was a fairly new release, Astrodynamix. Now, I'm not a huge noise fan in general, so I don't know if this is anything unusual by recent standards, but the last track really stands out for me: insistent pulsing and chiming synth lines, low crackling sounds underneath them, and accompaniment on trombone (by Heinz-Erich Goedecke, if that means anything to anybody) and soprano sax (by Yuri Yaremchuk, again a new name to me) that reminds me for all the world of some of Evan Parker's playing around the manipulations of his EA Ensemble crew of engineers. The whole disc makes for a pretty good listen on the train to work, but this conclusion is just plain wonderful. Does anybody who is familiar with this sort of stuff have any recommendations for anything even remotely similar? And who are the two accompanists? Do they regularly do this kind of thing? Again... WOW. By the way, does anybody want a KK Null "Erg per Galaxy" t-shirt (same graphics on it as on the cover of the album in question)? It came free with the bundle of CDs I bought that night, so I'll happily trade it for a CD that you're looking to get rid of. -me ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca

1 0

Re: Spring Heel Jack (No Zorn)
by Arthur Gadney 27 Jan '03

27 Jan '03

Hi, >I went to the London gig and it was as good as the Guardian review says. If >they come to your town Hows the CDs? _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail

1 0

RE: ikue mori psychoanalysis - please free associate
by Crowmeat Bob 27 Jan '03

27 Jan '03

>Btw, any fans of the Hitchcock movie Spellbound? Great score and fun dream >sequence from Dali. A little too heavy on the psychobabble and I felt >embarrassed for Gregory Peck every time he fainted. C'mon, everyone knows >that people don't faint during psychotherapy, they just cry like babies. >Wonderful early Hitchcock, though; up there with Rebecca. > >Zach sure sure...I love that flick. Vertigo will always be the most psychologically intense of his films for me, but there are some great resonances in Spellbound, like the obsession with black lines on a white surface that's a projection surface for repressed memories. But it is a little too tidy the way every image is like a coded puzzle piece of memory whose signified can be so easily and absolutely construed. >It seems that Ms. Mori has a neurosis, probably an inferiority complex, >stemming from trauma sustained in the late Oedipal Stage--exacerbated by >her >Elektra Complex. I like to see Mori as a schizoid agent of disjunction rather than a neuroticized Elektra-maiden green with envy over her gaping lack of phallic discourse. so come on down, sinner-friends, to Fast Oeddie's Used Psychobabble -- "Subjectivizin Folks Since the Invention of Sin" _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963

1 0

Re: RE: ikue mori interview - please participate
by Herb Levy 27 Jan '03

27 Jan '03

ahorton <ahorton(a)vt.edu> wrote: I'd really like to see a non-rude, non-confrontational yet honest question that goes something like this: "Ms. Mori, don't you feel that it's misleading to mask all of your musical endeavors with faux-highrbow language? You've simply used drum machines and samplers, and more recently MAX MSP, to make music- and yet, you insist on using lines like 'I extrapolate binary systems of sonic fragments to further explore the multiethnic diaspora', when in reality it would be more correct to say 'I bash buttons and make interesting beats." This isn't to accuse or to be hostile- i'm a huge fan of Mori's work- but I feel that her approach to explaining what she does is symptomatic of a real epidemic of faux-highbrow posturing in the modern improv world. If DJ Shadow's comfortable accounting for his genius with "I just bash the buttons on my sampler until it sounds dope", then surely someone like Mori (working in the same fashion) should be comfortable doing the same, without having to "talk herself up." I'm late on this because of a computer meltdown that's not quite fixed yet. Unless you've found a portal into Mori's head, you really have no idea what she thinks about when she's "bashing the buttons." Many (though certainly not all) people using max/msp have highly developed metaphoric structures for the patch system. Mori may be one of these people. If you're "a huge fan" of the music, I don't see why it should matter how Mori explains/describes/rationalizes her methods of creating that music. I can think of lots of work that I love for reasons that have absolutely nothing to do with what the artist claims to be doing. And, to address David Beardsley's comment, I don't know of any composer/performers who got grants from the roughly 50 grant panels I've been on in the last 20 years who didn't have a very strong advocate speaking about what the work sounded like. Work samples are always weighted much more strongly than artist statements and project descriptions for the very reason that many artists, and not just in music, have difficulty describing what they do in a way that communicates as well as their art work does. I would suggest if you really do find Mori's explanations so offensive,and really do find the work so appealing, that you simply stop reading her liner notes and interviews and just listen the music. The music, after all, is the main point of what she does, right? Bests, Herb -- Herb Levy P O Box 9369, Forth Wort, TX 76147 herb(a)eskimo.com

2 1

spring heel jack interview [nzc]
by jason tors 27 Jan '03

27 Jan '03

http://allaboutjazz.com/php/article.php?id=9 __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com

1 0

Re: Spring Heel Jack (No Zorn)
by alastair＠pretentious.co.uk 27 Jan '03

27 Jan '03

Richard Gardner wrote: > >>I caught Spring Heel Jack in Exeter (UK) on Friday night. For those >who don't know the music SHJ were a drum 'n bass duo who have widened their horizons and moved into much more dangerous territory. Included is the review of the London gig in the UK Guardian. It says it much better than me but this was a superb gig. I went to the London gig and it was as good as the Guardian review says. If they come to your town (and there are still some dates in the UK to go http://www.cmntours.org.uk/tours/springheeljack/index.html ), go see them. >>Has mention ever been made of Evan Parker's absolutely astonishing >album ýLines Burnt In Lightý? These three pieces for solo soprano >saxophone, using circular breathing and the natural resonance of the >church where it was recorded live to create towering minimalist >mantras with no electronic effects, has to have been one of the >albums of 2002. I don't think it has been mentioned here, but (again) I second your recommendation. It's interesting to hear the difference in the ambience between one piece played at the soundcheck, with virtually no-one else in the church, and then the two pieces played with audience. And, as someone who was in the audience that night I can report that the disc does the best job possible in capturing Parker playing against his own echo. Alastair -- Personalised email by http://another.com

1 0

Re: Spring Heel Jack (No Zorn)
by alastair＠pretentious.co.uk 27 Jan '03

27 Jan '03

Richard Gardner wrote: >I caught Spring Heel Jack in Exeter (UK) on Friday night. For those >who don't know the music SHJ were a drum 'n bass duo who have widened their horizons and moved into much more dangerous territory. Included is the review of the London gig in the UK Guardian. It says it much better than me but this was a superb gig. > I went to the London gig and it was as good as the Guardian review says. If they come to your town (and there are still some dates in the UK to go http://www.cmntours.org.uk/tours/springheeljack/index.html ), go see them. >Has mention ever been made of Evan Parker's absolutely astonishing >album Lines Burnt In Light? These three pieces for solo soprano >saxophone, using circular breathing and the natural resonance of the >church where it was recorded live to create towering minimalist >mantras with no electronic effects, has to have been one of the >albums of 2002. I don't think it has been mentioned here, but (again) I second your recommendation. It's interesting to hear the difference in the ambience between one piece played at the soundcheck, with virtually no-one else in the church, and then the two pieces played with audience. And, as someone who was in the audience that night I can report that the disc does the best job possible in capturing Parker playing against his own echo. Alastair -- Personalised email by http://another.com

1 0