ECONOMY

December 9th, 2012

This upcoming exhibition at stills in Edinburgh looks rather stupendous. Their website has much to read, digest, and respond to. I’ve developed my thoughts on the Fatigue Empire quote below and have contributed the following in response to this

Really enjoyed reading this, and I thought that the following might be relevant – “In a spex interview, Dirk von Lowtzow said, “The Fatigue Empire […] is a reevaluation of social imperatives. To function constantly these days is seen as extremely virtuous. For many the worst thing would be to acknowledge that they are exhausted. Contemporary capitalism demands constant creativity, and that one deal with it, profitably. Not even losers are left in peace—they too should work on themselves continuously, and get involved permanently. The Fatigue Empire represents an opposing model that celebrates exhaustion very open-mindedly, as everybody knows of course.”

[http://lectures-staedelschule.blogspot.co.uk/2012/05/cosima-von-bonin-and-moritz-von-oswald.html-]

Now, thinking this through leaves me in a bit of a bind. If I follow the logic of it, then it looks like a reasonable response to contemporary capitalism might be to do as little as possible, to just scrape by. However, this leads rather directly to dropping out, self sufficiency, squatting, scrabbling around for scraps, etc and I’m not entirely convinced that’s the answer. So, in choosing to act, to be creative, and to get involved, even in projects and activities whose content is broadly in opposition to contemporary capitalism, am I still unwittingly collaborating in it? Is there a way out other than tending towards inactivity?

Pan Soundcloud

October 24th, 2012

Yay! Pan records soundcloud featuring a stupendous amount of rather amazing music – http://soundcloud.com/pan_recs.

Chain Reaction

October 17th, 2012

Here’s a youtube playlist I made of all of the vinyl releases on Chain Reaction.

The Fatigue Empire

October 16th, 2012

While looking for Moritz Von Oswald interviews online, I came across ths following.

“In a spex interview, Dirk von Lowtzow said, “The Fatigue Empire […] is a reevaluation of social imperatives. To function constantly these days is seen as extremely virtuous. For many the worst thing would be to acknowledge that they are exhausted. Contemporary capitalism demands constant creativity, and that one deal with it, profitably. Not even losers are left in peace—they too should work on themselves continuously, and get involved permanently. The Fatigue Empire represents an opposing model that celebrates exhaustion very open-mindedly, as everybody knows of course.” ”

from here

Things found…

October 7th, 2012

… while scanning The Wire’s news pages for additions to the events guide

JOE MORRIS ..PERPETUAL FRONTIER / THE PROPERTIES OF FREE MUSIC

“Perpetual Frontier / The Properties of Free Music describes the way free music is constructed through the processes of synthesis, interpretation, and invention. With descriptive sections of four seminal methodologies Unit Structures, Harmolodics, Tri-Axium Theory, and European Free Improvisation, as well as sections on how specific properties are consistently used and re-formulated in the construction of free music. This material, which the author developed through years of performing and teaching, is concise and coherent, making it clear for listeners and musicians alike, and thereby setting a new standard for the understanding and study of the most inherently forward-seeking musical form of our time.”

Lee Gamble – Diversions 1994-1996
“Gamble built each of its two side-long tracks entirely out of samples from jungle cassette mixes, making Diversions a sort of mixtape of a mixtape, as well as an oblique love letter to pirate radio.” For example – http://soundcloud.com/pan_recs/lee-gamble-emu-pan-33

Parameter
“Parameter is the first comprehensive documentary film portrait of Stefan Goldmann. The way his music takes from his studio to the club is traced with rare insights into the premises of Berlin electronic music institutions such as the Hard Wax record store and the D&M mastering studio. In-depth interviews shot in an unidentified scenery of derelict ruins illuminate the principles of his work. Parameter features excerpts from 11 tracks by Stefan Goldmann as well as exclusive studio sessions specially produced for this film.”

In Search of a Concrete Music
“Pierre Schaeffer’s In Search of a Concrete Music (À la recherche d’une musique concrète) has long been considered a classic text in electroacoustic music and sound recording. Now Schaeffer’s pioneering work—at once a journal of his experiments in sound composition and a treatise on the raison d’être of “concrete music”—is available for the first time in English translation. ”

Just songs?

November 7th, 2011

I was listening to the new Rangers album on the train home from Edinburgh to Glasgow last night. I’ve been struggling with it a bit, for reasons that I think are similar to the Real Estate record I mentioned in the last post. It creates a related set of resonances which I’m not totally comfortable enjoying – hold music, as heard through a phone earpiece; ringtones, as heard distorting through the tiny, tinny speakers on a mobile phone; karaoke, heard through an overdriven, poorly engineered PA from outside the room in which it’d being performed; pop music overheard through headphones.

I think it’s a combination of the generic song structures, cheesy, low budget instrumentation and distorted, noisy and effect smothered production that makes this music so intriguing. You could take it as a comment on the increasing pervasiveness of low quality music reproduction, the ease with which music can be made, distributed, reproduced and heard (increasing the prevalence and availability of generic, cheesy, effect laden and low quality tracks), and the lack of attention that’s generally paid to the fidelity of the reproduction, or the extent to which one’s fellow humans might, or might not, want to be exposed to it. You could also take it as some slightly rubbish songs which have been badly recorded. The Rangers interview in The Wire a while ago certainly indicates that, from the creator’s point of view, it’s just some songs.

As with the Real Estate record, I think it’s the tension between naiveté and consciousness, or between resistance and celebration, that makes this an interesting listen. It could be dismissed as the poorly rendered backing track to some generic but inescapable corporate intrusion into an otherwise ethical life. It could also be taken to be a comment on exactly that. However, the fact that it’s so listenable makes me feel that, much like the Real Estate record, it’s a means of coming to terms with something that should be resisted, a panacea for the auditory manifestations of corporate neglect.

Liminal Days

October 31st, 2011

First thing this morning, on the way to work, I had one of those always worthwhile combinations of place and sound that make headphones and a portable music player such a treat. I took the bus into central Glasgow and got off at the car park at the St Enoch centre, by the outside entrance to BHS. Stepping off the bottom step, listening to the new Real Estate album, I was stuck by the combination of car park, massive, raked glass shopping centre and decidedly unattractive branch of Argos off to the right (some of this view is shown here). Something about the scale, emptiness and blandness of the spaces defined by the rather poor, rather dated and not quite modernist/not quite post modern architecture and the music made some kind of sense. It seemed slightly unreal, but was all more coherent than it had any right to be.

The music itself is unassuming at first. It sounds largely a cross between later 80s and early 90s indie pop (sarah records especially) and some hold music or mall muzak (as it might actually be heard* on a phone or in a mall – echoic, reflective, distant and close, partly submerged). Whether it’s actually worth listening to or not is decidedly ambiguous (it does feel a bit like a bit of a guilty pleasure listening to it, like finding a likeable Dire Straits track). After all, it is just some nice verse chorus verse tunes. However, it did make an otherwise impersonal environment seem a little more bearable than it might have done otherwise.

I think that it might be something related to this that makes this music a curious listen. I think the interest comes from its ambiguity, and from the fact that it’s unclear whether it’s worthy of attention or not, just as it’s unclear whether these liminal, unintended, functional corporate collage environments are worthy of attention. Is it a good thing that this music makes them comprehensible and bearable? Perhaps they should be unbearable. Perhaps they should arouse feelings of resistance and stress rather than surreal feelings of complicity. I think it’s that tension that makes this music work. That said, I might just have been woozy in the extra daylight from the clocks going back.

*[having now listened to this same record on the bus on the way home, I'm finding this statement a little odd. It's really well recorded so it lacks the foggy tape manipulations and effects of James Ferraro or Rangers. However, there's something about it that's unclear; Partly, I think it's the use of a lot of phase, flange and chorus effects on the guitars. This wobbly, shimmering and swirling aspect muddies the water a bit and causes everything to bleed together. In addition the vocals ar not massively present and are always harmonized, a little akin to the first Ride album. There's a similar lyrical vacuity also, furthering the bland, mall-hypnosis.]

nubuweb

October 28th, 2011

Been a while since I’ve been on ubuweb. They’ve organised their music/sound content a bit more than they had last time I was there. In addition, this is worth a read from an Arika/Conceptualism standpoint.

Questions…

October 28th, 2011

I asked some musicians the same 3 questions.

Why do you make music?

How do you know when the music you make is good?

How are improvisation and repetition involved in your music?

This is what they said:

Fraser Burnett (FRU, pjorn72)

1. ego-stroking, attention-seeking emotional venting

2. i don’t, but if i LIKE it then that’ll do for me

3. i make something up, then play the same thing for ages

Drum Major Russell MacEwan (Black Sun)
1.I joined the Boys Brigade pipe band when I was ten years old and I was a big fan of Adam & The Ants – who had two drummers during the ‘Kings of the Wild Frontier’ chart success album. I remember playing gigs at that young age hitting me like a ton of bricks and I’ve never lost that excitement for writing, recording and playing. And I’m still a member of Adam & the Ants inside.

2. My first assessment is if I enjoy playing it. Sometimes you birth a monster which is an absolute fuck to play live but you’re stuck with it for the duration of the tour/record. After a while you judge the response of the audience matched to your continued enjoyment – or not – of playing it live. I mostly collaborate in music so the opinions of band members are equally as valid.

3. I use repetition as the basis for my drum patterns and allow time to pass while playing them in order to adapt and develop. I find it very freeing indeed. It allows me to fling in something off the wall now and then in terms of improvisation but in the main heavy rehearsal form the basis to my live shows so that they remain fun to play too.

John P Cromar (Noma)
1.I do not make music,music makes me….just a wee Mahler quote.I make music because it is the only real constant urge I have all the time.I want to make music that I want to hear and it makes me feel alive,in the moment etc..without music my life would be even more of an accident than it already is.

2.I think the process of making the music is when I feel good and the end result may not be that important.If I sit in the park with a new tune on my earphones and feel serene,relieved or disturbed then I guess that I like the music.I love most of my music BUT do not know if that makes it good.

3.Improvisation and repetition are used a lot in my music.ImproVisation and repitition are used a lot in my music.ImProVisatioN AND rePITition R used A LoT in mY music.A lot of improvisation+repitition can be found in my music.

Nick Herd (Red Death, Braw Gigs)
1. I’m under the belief that real musical expression is that of catharsis and necessity. If it isn’t compulsion then it isn’t worth doing – time to do something else.

2. I don’t think anyone could answer that question without sounding like a total dick. I think the trick is to definitely hone your musical knowledge and to immerse yourself into what you think sounds good, I suppose. And then just copy them, for lack of a better word – or the bits you like and just try to make it your own. I’m very wary of so called “experimental” musicians who aren’t obsessive music nuts themselves. Avoid those people like the plague.

3. I’ve never fully improvised, maybe about 30-40% of performances have improvised elements or i just fuck up and it sounds more improvised – but it’s mostly prepared. It’s getting less repetitive these days, due to my thimble sized attention span.

The improv word gets thrown around willy nilly these days anyhow. Ayler, Mikawa, Bailey – all great and authentic improvisers. The Scottish underground scene has very few full-on improvisers, in my honest opinion – but that’s not necessarily a bad thing. Don’t fear the rhythm!

“Most people who improvise slip back into their likes and dislikes and their memory…” – John Cage

July 14th, 2011

I had pretty interesting experience at The Evacuation of the Great Learning workshops at Instal last year. I really didn’t enjoy them at the time, to such an extent that I dropped out two thirds of the way through, but I’ve thought about them a lot since. I thought I would write a little about my experiences and how I think they relate to the broader themes I’m trying to tease out in my writings here.

As you’ll have read in Barry’s responses below, the workshop organisers, mattin especially, were “interested in thinking about the social relations in groups and seeing how they play themselves out or emerge outwith any kind of dominant structure or hierarchy already set in place.” Consequently, as little as possible was done to pre-define what would happen at the workshops. Times and locations were set for 3 sessions of 4 hours, plus the performances over 3 hours, and the first session began with Mattin and Ray Brassier giving an introduction and a little context (a lot of which related to some texts that had been provided and which no one seemed to have read). After the introduction, it was basically up to us. The default format seemed to be a large discussion circle with 60 people in it. We began this way and spent an unbroken 4 hours like this on the Saturday. After it became clear that it was going to be difficult to generate a consensus, the Sunday session fragmented after it was agreed that every idea would be considered as viable for the evening performances. We each made a personal decision to get involved in some or none of the performances. In the end, we all did what we wanted. We came to an agreement to do this. It was a collective decision. But did we not collectively choose to abandon our collectivity? Why shouldn’t we? After all, we’re all individuals, free to make up our own minds and do what we want. I guess we collectively agreed to be individuals. What else could we have done?

Getting 60 people to agree to anything via a group discussion is incredibly difficult. The conversation has a habit of veering wildly from topic to topic as each contributor responds to the point made immediately before them. As a result, it’s difficult for any one idea to gain any momentum. In addition, as only one person can speak to the group at a time, progress can be painfully slow (so much so that I decided not to return after Saturday’s often excruciating session). Although everyone had an equal opportunity to contribute to the discussion, some people said a lot while others said very little or nothing at all. As a result, many people appeared to be left out of the debate. So, a group discussion involving 60 people seems to make reaching a consensus rather difficult. It’s unfocussed, slow and unfair.

It’s was rather like a group improvisation, constrained by the social norms that dictate that only one person speaks at any one time and that they try to respond to the point made immediately before them. Within those parameters, this was a completely open situation in which each of us could do as we wanted and, as a consequence, we reverted to doing what we are most used to doing. As we are most familiar with a way of living that is individualistic, we reverted to this mode and this carried through to the final decision regarding the performances.

Or, as Mattin has put it, “During the workshop, it proved impossible for the group to arrive at any consensus about what to do or not to do. So the last day it was decided that every proposal would be accepted…instead of collectively achieving something radical, we merely reproduced the paltry freedom of expression which neoliberalism accords to the individual subject, no matter how false this ‘freedom’ turns out to be. It seems that capitalism has conditioned our subjectivity to the longer willing to give up anything individually, even if this entails a bleak future for everybody.”

So where do we go from here? I believe there’s a significant difference between a situation in which a dominant structure is not provided at all (as happened in the workshops) or when it is suddenly removed and one in which the structure is removed gradually with a view to agency being transferred to a group*. As the workshops have demonstrated, absence or sudden removal is likely to result in a reversion to an improvisatory state and, as a result of the broader structure of our society, to the learned individualism of the participants. A more gradual transition is likely to facilitate a move towards another outcome. Obviously, the particular outcome achieved will be directly determined by the structure put in place by the organisers. If a desirable outcome is for there to be a transfer of power to the group and for the group to work towards becoming a collective then a particular kind of structure will need to be put in place to allow this. Here’s a suggestion for how this might be done.

[*This is more of an intuition than anything else. I don’t have any specific evidence to back this up at this stage, although I’m working on it. It seems pretty reasonable to me though; if you help people become a collective then the will be more likely to become one. If you don’t, they are less likely to.]

Goal: To decide what we are going to do (or not do) together during the last 4 hours of Instal.

I’ve tried to apply the following principles
1) Workshop organisers’ role is to define the structure of the social relations within the group.
2) Allow the group to take increasing control of the process (i.e. provide a structure only up to a certain point in time).
3) Vary the formality and size of the discussion groups to allow people to contribute in a social environment in which they are most comfortable.
4) Provide a structure for escalating and collating ideas via reps elected by small groups. (Reps status is time limited).

Meeting 1 (2 hours)
Initial meeting in advance of the festival (perhaps 1 week before) – dissemination of reading materials & encouragement to read them prior to the first full session. Initial outline of remit by workshop leaders. Group discussion (focussed on process and format) 1-2 hours total.

Meeting 2 (4 hours)
a. Initial, brief discussion in group of 60 people to outline and clarify process and format – 20 mins

b. 60 people break up into groups of 5 (randomly selected). Each group of 5 discusses the issues at hand and selects a representative. Representative to note points discussed and any conclusions reached. 90 mins

c. The 12 representatives meet in 2 groups of 6 to discuss the points raised. Key points noted. They select 2 representatives from each group (everyone else is provided with an informal area to mingle and continue their discussions informally) 60 mins

d. 4 representatives meet to discuss points raised in the two groups. Develop an initial set of conclusions, processes and ideas. Select two representatives. 40 mins. Informal discussions continue.

e. 2 Representatives feed conclusions back to all 60 people. Group discussion. 30-60 mins.

Meeting 3 (4 hours)
Same format as Meeting 2 but with different groups of 5 (i.e. re-randomise the groups). People who were reps yesterday are not allowed to be reps today. Outcome – to have developed a format for the final session.

Meeting 4 (4 hours) Final 4 hour session – format to have been decided in previous two sessions.

Performance/s (3 hours) – to be decided by the group.