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MATTIN (computer feedback, voice, guitar) and " " (sic)
TIM GOLDIE
(drums, voice, credit card, amplifier). Recorded and Mastered by Rashad
Becker October 2007 & July 2008, Edited and mixed by Mattin and " "
(sic) Tim Goldie at Worm, Rotterdam, January 2008. Edition of 500
copies, with 2 double-sided A5 cards packaged in oversized luxurious
metallic silver foil envelope with sticker attached.
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from Tochnit Aleph
"Defusing preconceptions of what a live event should be and degrading
its components - the sound, the performance, the audience - without
imposing aesthetic or moral limits: this is the reason for being of
Deflag Haemorrhage/Haien Kontra, the project born in 2001 from the
minds of two of the most unpredictable and 'conceptual' contemporary
sonic activists: Mattin and " "(sic) Goldie. Ferocity and immobility,
instruments abused and unused, musicians zombiefied in their 'stage
persona' and in general the sense of psychosis, of necessary
superfluousness that gushes from every gesture, from each decision
taken by this anglo-basco duo make their live event an experience that
is all but impossible to relate to, at least until they've stripped you
of the costuming of dominant culture. " - Valerio Tricoli.
Reviews:
Collective Zine (UK)
absolutely fucking insane.
the weirdest record i have heard for a LONG time!!
The eccentricity/ form destruction of say ULTRA but more slick, like a
cheetah applying lipstick on a coke mirror.
Like if you record humidity.
wild mix of sexy cymbals, (non) accident vocals/child sighs, makes
William Bennett sound like Moira Stewart.
BONKERS
BONKERS
and once more
BONKERS
i cannot recommend this highly enough.
its like taking one massive shit and then it grows a mouth and starts
talking back???
arachnophobia toilet scene style.
w/ heavy last seconds unpaused tape AARGH style.
RECORD OF THE YEAR HANDS DOWN.
(and INCREDIBLE packaging)
R&C (Grenoble)
"Humiliated"
fait suite à "Luxery", disques de soumission aux bruits soniques, à
l'exhibitionnisme de la scène, shotgun tiré à bout portant sur
l'auditeur cultivé des musiques improvisées, écho au "Vicious" de Lou
Reed, aux vomissures électriques de Whitehouse et à la poésie
masturbatoire de Gerigerogegege. Guitar & drums : fouettées,
tordues, violentées, plus que jouées, voix porngraphiques hurlées ou
susurrées à notre oreille souffrante. Disque malsain, parce que se pose
la question du plaisir à ce bruit là. Masturbation sonore de deux
psychopathes hégéliens, la musique comme dialectique à casser nos
briques mentales, à forcer la musique du coté de son inconscient.
Masami Akita disait de la musique noise "qu'elleétait l'inconscient de
la musique, sa pornographie". Forceps soniques arrachant
l'improvisation à ses manières politiquement correctes, à la chose
culturelle pour la fange rock n'roll, moins une figure de style qu'un
hurlement en faveur de Sade. Mattin est un grand lecteur des
théoriciens de la Société du Spectacle. "La musique mime l'ordre
social, elle domestique le bruit", lui veut son désordre, son
renversement. En tacticiens : Mattin et Tim Goldie déversent des flots
de fréquences blanches et de stridences sur fond d'aplats métalliques
martelés dans nos tympans sachant que certains d'entre nous y prendront
un plaisir extatique, dès lors en pleine montée ils coupent le flux
pour nous laisser dans un vide sonore et son angoisse, seules deux voix
éructant, susurrant, vomissant, un discours post-situ à la façon d'une
b.o.f de film porno. Deflag Haemorrhage/Haien Kontra serait la vision
arty et politisée de Whitehouse, jouant des contradictions de la
contre-culture et de l'entertainment, à la façon d'artistes comme Gordo
Matta-Clark (trouant l'espace social) ou de Dan Graham (sa
contamination par la culture pop). Pour un Art du Bruit vivant et un
pied de nez au bon goût.
Michel Henritzi
Septiembre 3rd, 2009
Atzo
etxean nengoela semealaben lagun batzuk etorri eta galdetu zidaten zer
nolako soinutan nenbilen. Esan nien aire (kantu) eta eri dardarretan
nituela gogoak. Adibide CD bat jartzeko galdetu zidaten (txotxolo
horiek!) eta nire anplifikagailuari begirada bat eman, maletatik
atera
berri nuen Mattinek lehengo astean oparitako HUMILIATED CDa atera
eta
indarra eman nion tope.
Lehenengo pieza hasi ta kitarra entzun zen, 40 principaleseko
modukoa edo. Harrituta geratu nintzen lehen 10 segundutan, bapatean
zarata-txistu-danbada-azkaburrunba lehertuko ote zain. Ez zetorren
baina. Semeen lagunek sin mas begirentzuten zuten: zein da? Mattin,
esan nien, zarata eta kapitalismoari buruz ari da azkenaldian, gauza
estremoak egiten ditu. 30.garren segundura iristerako urduri nengoen,
noiz hasiko den umiliazioa. “Fragilmente grita hasta donde tu
estás,
Ahora grita mi padre. Yo me malgasto mi futuro …..”
Letrak oso mattinistak iruditzen zitzaizkidan eta kitarra akustiko
eztitsua eta rec modua …. kontraste ikaragarria …. espero nuenarekin
esan nahi dut.
Sorpresa, pentsatu nuen, Berlin ote. Popatik hartzen ari zaigu.
Alde
batetik atsegin nuen baina bestalde nolabait lotsatzen hasi semeen
lagunen aurrean (haiek ordea sin mas entzuten), nigandik garratzagorik
espero zuketen ba, ta ni Haien Kontrakorik bota nahiean, ipini Deflag
Haemorrhage eta 80 hamarkadako punka bezain popero iruditzen zitzaidan
CDa. (Garai hartan ez nekien punka popa ez zenik. Ezjakintasuna zen
nonbait)
Urduri, 2.garren kantura saltarazi nion CDari , “Te encuentro
despierto. Me dices lo siento” …. bai letra honek ba zuen
klase
borroka eta engaiatzearekin zerikusirik eta orduan galdetu nien:
“Capito?” Haiek baietz edo en fin edo bueno. Ea Mattin horrek zer
gehiago egiten zuen galdetu zidaten eta bereziki ea ezagutzen nuen.
Ba zen honezkero minutu eta erdi CD adi ginela (eta denok dakigu
zein den amaigabe) eta batek esan zidan, “beh, per fare questo non
c’è
bisogno di saper suonare molto” (ez da trebe izan beharrik hau
jotzeko). Nik baieztatu, XX mende hasieratik teknikarengandik
aldenduak bizi ahal gintezkela delako artean …. Diskusiotxo bat izan
genuen hortaz, topiko merke horietaz (Picasso aipatu zuten ere, bai
bai).
“Forte questa musica” batek. “Boh, una merda” besteak.
“A me
l’arte non m’interessa” hurrengoak. Momentu horretan sartu zen alaba
etxean eta galdetu zuen zertan ari ginen bere REBELDE diska
entzuten.
“Humiliated” zela esan nion bainan hark ezetz ta nik baietz. Ireki
genuen porta CDa eta han zeuden bi CDak, Haien Kontra Rebelderen
gainean.
Capito?
alex
Xornal (Galicia)
Tocqueville relata nas súas memorias un acontecemento da
Comuna de
París: “Foi entón cando vin aparecer na tribuna un home
ao que só vería
esa vez, cuxo recordo sempre me encheu de noxo e de horror. Tiña
as
fazulas macilentas e alladas, os beizos brancos, un aire enfermizo,
malvado e inmundo, unha palidez sucia, o aspecto dun corpo enmohecido,
cuberto de pólvora, aparentemente espido baixo unha vella levita
negra
pegada a uns membros miúdos e consumidos. Parecía vivir
nun sumidoiro
do que acabase de saír; alguén me dixo que se trataba de
Blanqui”.
Ese sentimento do ideólogo do liberalismo ao mirar ao lixoso
e
repugnante revolucionario Auguste Blanqui, é análogo
á percepción que
terá calquera burgués contemporáneo das podrecidas
guitarras e baterías
de Mattin e “ “[sic] Goldie Goldie. Ruído en continua loita
contra da
capitalización cultural. Cando a impotencia convértese
nun arma, os
berros indescifrables que xorden da diarrea sónica, ben poden
dicir “Os
románticos foron esmagados!”. Miguel Prado
Vital
Weekly (Holland 2009)
Packaged in a silver anti-static bag along with
two printed cards
one having dense self indulgent text "My excrement hallucinatory
rejections of a concrete reality.." and even denser overwritten
text with photographs of blurred hand writing on the reverse.
When tracked down - (they give no address) the following amongst
other can be found "" "[sic] GOLDIE - drums, voice,
credit card, amplifier, stereotaxic. MATTIN - GNU/Linux computer
feedback, voice, guitar. Formed in East London in 2001... perform
internationally... work with noise, silence and abjection... transgress
all notions of what a performance can be without imposing aesthetic
or moral limits... two of the most unpredictable and 'conceptual'
contemporary sonic activists... "[sic] Goldie is one of the
most original noise musician/performers on the European scene...
from any current or cultural influence, Goldie's work places itself
in a unique conceptual universe, ..DEFLAG (etc) collaborated with
some of the most radical and legendary musicians in the avant-garde
such as Eddie Prevost (Prévost?) (a *Jazz* drummer!) and
Philip Best " And continues with reviews from Dan Warburton
(The Wire). &...Nick Hobbs validating their oeuvre. Actually
despite all this the piece begins with guitar / drumming noise
@ 3 minutes a lot of shouting - everything then goes quiet and
we hear a silly child voice and chimes? to give way to more shouting
and noise finale. When was The Two Virgins series released? I'm
sorry this is weak avant gardeism of the 1960s - no wonder Eddie
and the Jazz heads want in. They *do not* transgress notions or
moral limits or is there anything original here, certainly no
unique conceptual universe whatever that might *mean*- but you
might start by checking out the work of such as Fowler and the
ideas regarding the current state of sonic art in "in the
blink of an ear"- The only post-modern credentials they have
is passing off clichéd rubbish as art given a set of an
influential clique in line with Damien Hirst's (successful) objective,
so the whole thing might be an ironic gesture - at least that
is an excuse. otherwise as a quote they give from A&Lers Michael
Baldwin, Charles Harrison, Mel Ramsden from 1994 states "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."
which is sufficient even given the pedigree/praise above to write
this off as "embarrassments and pettinesses " I suspect
and hope that the self regarding, self pitying narrative is just
a post-modern ploy, through I'm aware of an enormous
anti-intellectualism
(read anti-human) tendency in the Stalinist Jazz Mafia/Media.
(jliat)
The Wire (UK, Outer Limits, By Keith Moline, December 2009)
