by NICK HOBBS
very rad, impressed by the silences and use of soundblocks rather than much resembling
playing, the screamy parts (and publicparticipations) are harrowing, dont know quite
how to digest those asa listener, as music, those parts especially cross
into performance art, probably you should perform naked and spill bodyfluids onto your
instruments (i'm not joking), maybe while mattin retained a full-body cool cloak of
clothing, i don't know if your boldness, angst, and variously directed irony-free
loathings, want toenter into diamanda galas territory of staging the sound, and
stagingthe performer, so that the look of it all integrates into the psychotic
soundworld, but i could imagine that, you'd probably belocked up, but what the hell,
would be worth doing enough times forthe forces of cultural order to take note - and
then drop it and gopastoral
and the vid would be a gem of violent sound-porn, the SM fantasies conjured up are quite
rousing, not enough to make me leavemy respectable monogamous and intermittently
delightful life but anyway enough to disturb me with visions of fucking you in public
overa drumkit
i've been considering aesthetics of ugliness lately, in my lecture on flamenco
especially, but flamenco (even in its most extremeand raw forms) is musical, your
territory seems somewhere ratherother, inviting iraq into the kitchen while spewing it
out and cookinga stew
track 1 is unlike anything i've heard, congrats especially fort hat, also track 10
stands out, it reminds of the chapman brothers,and track 13, a swam of b52s over a hot
desert, track 14 a firingsquad with a well-developed sense of sadistic job-rush (would
theystill shoot if some blonde bombshell tugged off their breeches and sucked them
bone-dry? is that all it'd take to salvage utopia?)
i tease myself with idle questions, who are the goodies and badies? are we all schizoid?
is the way out of hell via catharsis, oris that the way in?
long live pasolini and bill burroughs but accursed be genesis porridge
Diskunion (Japan)
狂気のノイズ感染!! バスクの奇人マッティンが率いる数多いバンドの中でも狂気度トップのユニット。物音系のジャンク・ドラマー [sic]
Goldieとのディオ・ユニットで、ほとんどノイズと物音で構成された狂気の内容となっている。ノイズ・コアのようでもあるが、そうは聞こえない。ほと
んどフィールド・レコーディングのような録音も手伝って、檻の外から珍獣を眺めている雰囲気でもある。意味不明の極地。素晴らしい!!
"Those
who nail their cultural reasons irrevocably to the mast are impelled
as a matter
of urgency to seek the conditions of acceptance of
their self-descriptions as innovators. It is under the rule of those
conditions that whatever is made must then be distributed. Certain
substantive critical issues being treated as effectively
settled, or dead, what follows as a necessity is not that the
practice be remade in the image of its innovatory moment, but
rather that its habits be perpetuated as protocol. The critique of a
dying culture for which the innovatory moment may originally have
been the occasion is thus turned into the edifice upon which the
practice is itself perpetuated.
This not to say that any old
fleetingly 'experimental' questioning is ipso facto important, but
merely to reclaim a sense of historical reality and expediency for
the idea of practice. To mistake the causes and reasons which
originate cultural practices for the causes and reasons which make it
possible to go on with those same practices is a species of
immaturity which terminates in Stalinism, or in some even worse
adolescent disorder. To go on doing what one is doing for the same
reasons that one started doing it is to forget the inevitable
contingency of those reasons; or it is to turn them into bureaucratic
or mercantile necessities. When expedient justifications have to be
thought of as principles of validation, and dodges as significant
transitions, it tends to mean that someone is in process of
forgetting their own history- its indignities and embarrassments and
pettinesses - so as to extrude a past self as dignified and as
important as they mean to appear in the present."[sic]
Michael
Baldwin, Charles Harrison, Mel Ramsden1994
___________________
Live 7th April 2006 TPO (Teatro Polivalente Occupato) eauNaturelle
Festival Bologna. Pictures by Xenia and Kurt Korthals
