StopMakingSense

Mahasura Attacks the Devi Folio from a Dispersed Devi Mahatmya

2012-01-31T02:10:00.000+01:00

4'39'' on Acid

2012-01-30T21:01:00.001+01:00

True Stories (1986) is an American film that spans the genres of musical, art, and comedy, directed by and starring David Byrne of the band Talking Heads. It co-stars John Goodman, Swoosie Kurtz, and Spalding Gray. Byrne has described the film as, "A project with songs based on true stories from tabloid newspapers. It's like 60 Minutes on acid."

Shora, Malval (2005)

2012-01-30T19:22:00.003+01:00

Shora, Malval

Conspiracy records, 2005

01. Parhelion

02. Arch & hum

03. Siphrodias

04. Klarheit

Line-up: Tony Casimo, Alessandro Curvaia, Vincent de Roguin, Nicola Todeschini.

Recorded by Thierry Van Osselt and Shora, Geneva, Switzerland, during the Summer of 2004. Master by Jaime Gomez Arellano.

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Tommy Dawsey by Socrates that practices music

2012-01-30T17:58:00.001+01:00

From the album Further Conclusions Against an Italian Version (BAT), 2011
www.junioraspirin.com

And now, a Fall into Obscurity...

2012-01-30T01:07:00.011+01:00

Yoga, Black Obelisk

Ash Borer, My Curse Was Raised In the Darkness Against A Doomsday Silence

Popol Vuh, Brothers of Darkness - Sons of Light

Inner Games

2012-01-29T11:00:00.003+01:00

Double Fantasy, Lost Control

Winter Songs

2012-01-27T07:22:00.002+01:00

Rosalie Sorrels, Winter Song

Utah Phillips, Phoebe Snow

Exotica Weirdness (An Ocean of Tears)

2012-01-26T18:23:00.003+01:00

Asa-Chang & Junray, 花

Roe Ethridge

2012-01-25T23:40:00.000+01:00

The Chemistry of Darkness

2012-01-23T11:53:00.002+01:00

Exotica Weirdness (in raptures)

2012-01-22T12:21:00.008+01:00

(A slow and progressive dive into the viscous states of a silent exultation)

Flower Travellin' Band, Satori (part.2)
Can, Don't Turn The Light On, Leave Me Alone
Nicky Hopkins, Sundown in Mexico
Menelik Wossenachew with Mulatu Astatke & The All Star Band, Tezeta
Anonymous Khéne (Laos), Soutsanenh

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Loren Mazzacane Connors, Jean-Marc Montera, Thurston Moore, Lee Ranaldo, mmmr (1997)

2012-01-21T09:54:00.004+01:00

Loren Mazzacane Connors, Jean-Marc Montera, Thurston Moore, Lee Ranaldo, mmmr (1997)

Des Choses, de l'Or, ...

2012-01-20T09:48:00.013+01:00

Ton Steine Scherben Macht kaputt was euch kaputt macht

Simon Evans

2012-01-19T15:54:00.000+01:00

Eden, Eden

2012-01-19T10:21:00.002+01:00

Pierre Guyotat, Epq (Encore plus que la lutte des classes), Paris, 1976

drugz

2012-01-17T22:48:00.001+01:00

Johnny Hallyday, A tout casser

Déclaration

2012-01-17T16:45:00.002+01:00

Bio ici et interview ici.

Codex Seraphinianus

2012-01-14T15:33:00.000+01:00

Not yet titled

2012-01-13T15:17:00.001+01:00

Rangers, Bad Flan

Colossal Beats: Kuruption!, by Kurupt (1998)

2012-01-12T21:18:00.008+01:00

Kuruption! is the debut studio album by rapper Kurupt. It was released on Antra Records, a label formed after Kurupt left Death Row Records. It was released as a double album. Disc one is labeled as "West Coast" and disc two is labeled as "East Coast". It peaked at #8 on the Billboard 200 on October 24, 1998. Ricardo Emmanuel Brown (born November 23, 1972), better known by his stage name Kurupt, also known as Kurupt Tha Kingpin, Kurupt Young Gotti or Young Gotstra is an American rapper and former Executive Vice President of Death Row Records. He is a member of the rap group Tha Dogg Pound, and is mostly known for his work with Death Row Records. He is also a member of the hip-hop supergroup The HRSMN.

Disc 1. Kuruption! (East Coast) & Disc 2. Kuruption! (West Coast)

Joe Bradley

2012-01-12T16:57:00.001+01:00

Abyss / Black Sea

2012-01-12T00:03:00.004+01:00

Courtship behavior of the box jellyfish Copula sivickisi. The male (top) and female (bottom) engage in a complex mating ritual unique among cnidarians (jellyfishes, hydroids, anemones, corals and their kin).

Grouper & Ilyas Ahmed, Flickering

Brainwaves: Relaxation with Alain Goraguer

2012-01-11T21:00:00.004+01:00

Alain Goraguer, Un goëland nommé Jonathan (relaxation) composed for Véronique & Davina, "Gym-tonic" (1982)

Seriously Deep

2012-01-11T09:19:00.004+01:00

Paul Bowles in Morocco

David Axelrod, The Mental Traveler

Colossal Beats: No One Do It Better, by The D.O.C. (1989)

2012-01-10T23:38:00.003+01:00

Tracy Lynn Curry (born June 10, 1968), primarily known by his stage name The D.O.C., is an American rapper from Dallas, Texas. In addition to a solo career, he was a member of the hip hop group Fila Fresh Crew, and a creative force behind the gangsta rap group N.W.A, where he co-wrote many of their releases. He has also semi-frequently worked with Dr. Dre, who is one of the founders of N.W.A and produced two of his solo albums.

After Fila Fresh Crew split up in 1988, The D.O.C. went on to pursue a successful solo career. In 1989, he released his debut album, No One Can Do It Better, which reached number-one on the Top R&B/Hip-Hop Albums chart for two weeks and spawned two number one hits on the Hot Rap Songs chart: "It's Funky Enough" and "The D.O.C. & The Doctor". The album went platinum five years after its release. Months after the release of No One Can Do It Better, The D.O.C. almost died when a car accident resulted in crushing his larynx, permanently changing his voice.

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Colossal Beats: World Class by World Class Wrecking Cru (1985)

2012-01-08T13:22:00.004+01:00

World Class Wreckin' Cru debuted in a club owned by one of the early West Coast DJs, Alonzo Williams. Before he opened "Eve After Dark" in 1979, Alonzo transformed from poplocking to DJ dances under the name of Disco Construction, which name is a influence from the funk group Brass Construction. Seeing the popularity of this new craze, he entered the market of running nightclub performances. The club opened with Detroit-born Andre Manuel aka Unknown DJ directing the music program whose main influence derived from an east coast flavour, Soulsonic Force, Orbit and Scorpio.

As the ‘80s arrived, so did electronic funk, sampling drum beats fused with old school rap format. Disco Construction changed its name into the Wreckin Cru. Lonzo hired local DJs Antoine "Yella" Carraby and Andre "Dr. Dre" Young who were DJs on KDAY. This period would also create history as Dre and Yella would cross paths with a teenage performing group called CIA (Cru' In Action) starring O'Shea "Ice Cube" Jackson, Dre’s cousin Tony ‘Sir Jinx’ Wheatob and Darrell ‘K-Dee’ Johnson who caught the attention of regular patron, local drug dealer Eric ‘Eazy-E’ Wright who was looking to capitalize on this new fad and turn his business legal.

Before this eventuated World Class were almost the sole performers in the club, managed by Alonzo who smooth-talked his way into obtaining a record deal from CBS Records for the group and was using money generated from sales to build an inexpensive four-track recording studio at the back of the club to cut records for his acts. With the rapping of another local talent, Cli-N-Tel he opened his own label under Macola Records called Kru-Cut Records and their first recorded singles were "Surgery" and "Juice".

By 1984, both cuts had become electro-rap favourites in the west coast club circuit and sold many copies across the coast. That same year during the Olympics the Wreckin Cru added the World Class into their name.

World Class Wrecking Cru, World Class (1985)

Erkki Kurenniemi, DIMI Ballet (1971)

2012-01-08T10:40:00.002+01:00

Erkki Kurenniemi (b. 10 July 1941 in Hämeenlinna, Finland) is a Finnish designer, philosopher and artist, best known for his electronic music compositions and the electronic instruments he has designed. He is considered one of the leading early pioneers of electronic music in Finland. Kurenniemi is also a science populariser, a futurologist, a pioneer of media culture, and an experimental film-maker. Kurenniemi completed the majority of his instruments, electronic compositions and experimental films in the 1960s and ‘70s. Between 1962 and 1974, he designed and constructed ten electronic instruments and studio devices when he was working as a volunteer assistant at the Department of Musicology at the University of Helsinki, and as designer at Digelius Electronics Finland Oy, founded in 1970. In addition to the Musicology Department, Kurenniemi also worked as assistant and senior designer at the Department of Theoretical Physics from 1962 to 1973. Kurenniemi earned a Bachelor of Sciences degree in 1968. He subsequently worked as a designer of control systems for industrial robots at Oy W. Rosenlew Ab (1976–1978), and as a designer of industrial automation and robotic systems at Nokia’s cable machinery division (1980–1986). He also worked as a specialist consultant and Head of Planning at the Science Centre Heureka in Vantaa, Finland (1987–1998).

After Apocalypse

2012-01-07T09:41:00.012+01:00

In 1974, Gilbert Deflez, who officiates as a karate coach, but who is better known as a science fiction writer, radio host, story teller and voice actor for his weekly radio show on Europe 1, as he decides that his only novel Je Suis Vivant Mais J'ai Peur ("I'm alive but I'm scared") needs a soundtrack, invites Jacky Chalard, the ex-bassist of the parisian prog-rock band Dynastie Crisis, to conceive the music.

The result is this surrealist cosmic concept album, which cover pretty much says it all : imagine Vangelis' 1971 The Dragon flying over La Planète Sauvage with a Roland Jupiter-8 synth, a Bentley Rythm Ace, and an unthinkable amount of grass. Absolutely delirious Lovecraftian texts, freakish fables obviously written on drugs, spacey synth prog atmospherics, definitely non-euclidean geometrization of affects... this is the kind of typically french psychedelia you'll find in this LP (which aslo contains the track Corto Maltese, immediately branded as 'Exotica Weirdness' epitome, and the utterly massive hit Super Man, Super Cool) :

Jacky Chalard & Gilbert Deflez, Je Suis Vivant Mais J'ai Peur (1974)

Odd videos by Luke Wyatt

2012-01-06T21:56:00.002+01:00

Reiner Riedler

2012-01-05T16:20:00.000+01:00

More here

In advance of global doom

2012-01-05T13:46:00.003+01:00

Judah Warsky, Asleep in the train
Habibi, Sunsets (demo)
D. D. Denham, Above the clouds you can't see anything

OSWIECIM

2012-01-04T14:00:00.001+01:00

<3 to Dora Diamant

MMXII (via deadness)

2012-01-01T18:31:00.002+01:00

The winter solstice of 2012 will occur at 11:11 GMT on December 21st 2012, the same day the Mayan Long Count Calender flips over or "ends" as some say. On that morning the sun will appear to rise into the area of the sky we refer to as the galactic center or nuclear bulge. It is the location of the super-massive black hole at the center of the rotation of the the Milky Way galaxy. The sun's position in the sky on this day will also be perceptively aligned with the "Dark Rift" (the dark band that to the eye seems to divide the bright band of the Milky Way galaxy). Additionally on this day, Jupiter and Saturn will be involved in an astrological formation known as a Yod (finger of God.) With the combination of all these celestial events, the "stars will be right" and Cthulhu will begin to awaken.

At the proper time,"the secret priests would take great Cthulhu from his tomb to revive His subjects and resume his rule of earth....Then mankind would have become as the Great Old Ones; free and wild and beyond good and evil, with laws and morals thrown aside and all men shouting and killing and revelling in joy. Then the liberated Old Ones would teach them new ways to shout and kill and revel and enjoy themselves, and all the earth would flame with a holocaust of ecstasy and freedom"

In 1997 (15 years in advance to 2012) a "bloop" was heard in the southern Pacific Ocean within a 500 mile proximity of the supposed location of Cthulhu's sunken tomb-city known as R'lyeh located at 47°9′S 126°43′W. This "bloop" was louder than any known animal noise (even whales) and suggested to possibly be from a gigantic cephalopod.

Cthulhu's appearance has been said to be of a gigantic cephalopod with a body like a man's and bat-like wings. "a monster of vaguely anthropoid outline, but with an octopus-like head whose face was a mass of feelers, a scaly, rubbery-looking body, prodigious claws on hind and fore feet, and long, narrow wings behind"

Cthulhu rises in 2012.

Parce qu'il faut bien parler de Dieu sans forcément avoir un boeuf sur la langue *

2011-12-23T15:12:00.007+01:00

John Tavener, Funeral Canticle, 1996, dirigé par Paul Goodwin avec The Choir of the Academy of Ancient Music.

* Merci à Bruno Latour pour le gag contenu dans le titre de ce post.

Like the taste of sugar in the mouth of a mute

2011-12-22T19:05:00.004+01:00

Composed between 1963 and 1964 and revised in 1966, And on the Seventh Day, Petals Fell in Petaluma consists of 23 one-minute duets, which can be overdubbed in recording, or played by multiple instruments in live performance, making an additional ten quartets and a concluding septet. The title refers to the location of Partch's new home in an unused hatchery in Petaluma, California, after an absence of six years while he was on sabbatical.

It was the time of year when the petals fell.

The music (ranging in spirit from the light-hearted, gamelan-like and playful to the nocturnal and quiescent) is played on a wide variety of Partch's timbre-ful 43-tone to the octave instruments, like the Zymo-Zyl, Cryochord, Harmonic Canon, Blue Rainbow, Boo, Spoils of War, and so on.

"This is my trinity: sound-magic, visual beauty, experience-ritual." (Partch)

Harry Partch, And on the Seventh Day, Petals Fell in Petaluma (excerpt)

Concrete Island

2011-12-21T23:10:00.004+01:00

From Scratch, the legendary percussion group from New Zealand founded by Phil Dadson, first performed Pacific 3 2 1 zero, a protest against nuclear testing, at the Paris Biennale in 1981.

Here is an excerpt of the performance recorded live at Auckland Girls Grammar in June 1986, to be played at maximum volume.

Lyria's iTunes 10 best rated songs in 2011

2011-12-20T10:33:00.008+01:00

10. Julia Holter, Goddess Eyes (listened 27 times)
09. Tim Hecker, Hatred of Music I & II (32 times)
08. Sun Araw, Lucretius & Biff Rose, When We're Together (I Don't Want To Get Caught) (34 times ex aequo)
07. Mellowhype, Loaded (39 times)
06. Shabazz Palaces, Swerve the Reeping of All that is Worthwhile (Noir Not Withstanding) (40 times)
05. Oneohtrix Point Never, Replica (45 times)
04. The Left Banke, Dark is the Bark (52 times)
03. Chad VanGaalen, No Panic/No Heat (54 times)
02. Amen Dunes, Not a Slave (62 times)
01. Death Grips, Guillotine ! (74 times)

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2011 best lines BONUS :

"I'm a fucking walking paradox, no I'm not."
Tyler, the Creator

"I'm watching David Letterman in Australia."
Bill Callahan

Close To Everything

2011-12-17T21:56:00.008+01:00

Bobb Trimble, One Mile From Heaven
Magical Power Mako, Flying *
The Advisory Circle, Now Ends The Beginning
Michel Genest, Sacred Temple Dance

* thanks to Maxime Guitton. More MPM in this ancient post.

The Central Region

2011-12-16T18:23:00.004+01:00

Evan Parker and Lawrence Casserley, The Central Region (For Michael Snow)

After finitude

2011-12-14T22:45:00.001+01:00

A classic tune worth blogging about.

Michel Houellebecq, Derniers Temps

"Sound", 1966, directed by Dick Fontaine, with Rahsaan Roland Kirk & John Cage

2011-12-12T18:24:00.002+01:00

My Dad's Favorites

2011-12-12T15:52:00.000+01:00

Steely Dan, Do It Again
Stevie Wonder, Too High
Crowded House, Weather With You
Prince, Sexy M.F.
Toto, Africa

Solar Confinement

2011-12-12T14:49:00.007+01:00

Mac Demarco, Baby's Wearing Blue Jeans
Neon Pulse, Scrappy Time
The Present Moment, Visitation
Willis Earl Beal, Blue Escape
Claudio Rocchi, Per Antichi Canali

pic : Nicholas Mangan, Friday the 13th, 2009.

Autumn Fusion - Sélectionné par Daniel Dewar

2011-12-11T10:52:00.008+01:00

Daniel Dewar (1976) est un artiste d'origine britannique. Il travaille en duo avec Gregory Gicquel, collabore avec son ami l'écossais Mick Peter, ou même encore avec sa femme Lili Reynaud Dewar (avec qui il vit actuellement près de Paris). Son travail, mental et composite, visionnaire et eccentrique, drôle, inquiétant et excessif nous fascine depuis longtemps déjà. Nous avions d'ailleurs illustré un post ancien avec l'une de ses oeuvres de 2006, et relayons régulièrement ses trouvailles stupéfiantes dans les zones insondées de la culture populaire. Le travail de Daniel Dewar est par ailleurs profondément nourri de références musicales perdues dans les limbes de la FM, du primitivisme ou de la musique synthétique. Il est aussi musicien : il fut dans le passé membre d'un groupe de bluegrass familial, a monté un groupe de Pop avec son frère, et réalise encore des oeuvres sonores. Et l'artiste est un grand amateur de beautés musicales, curieuses, hallucinées. Tant attendue, sa première contribution à StopMakingSense est une compilation "un peu molle... genre les feuilles qui tombent des arbres et les humains confits sous leur couettes à motifs de palmiers".

1. Van Dyke Parks - Occapella

2. Bonzo Dog Doo-Dah Band - I left my heart in San Fransisco

3. Ry Cooder - Little Sister

4. Van Dyke Parks - The four Mills Brothers

5. Little Feat - Six feet of snow

6. Ry Cooder - It's all over now

7. Donald fagen - The Goddbye look

8. Van Dyke Parks - John Jones

9. Bonzo Dog Doo-Dah Band - Look out there's a monster coming

10 Wings - Goodnight tonight

11. Little Feat - Join the band

12. Little Feat - Fat man in the bathtub

Appréciez ici.

Rita Ackerman Artist's Book

2011-12-10T16:47:00.000+01:00

Terra Incognita

2011-12-07T12:42:00.000+01:00

Atlas Sound, Terra Incognita

∿∿∿∿∿∿∿∿∿∿∿∿∿∿∿∿∿∿∿∿∿∿∿∿∿∿∿∿∿∿

2011-12-06T07:49:00.001+01:00

Officina Stellare

2011-12-02T21:45:00.014+01:00

Max Factor and his measuring tool.

Janko Nilovic, L'Océan
Moggi, Officina Stellare
Camille Sauvage, Ectoplasme
Doug Wood, Adrenaline
The Denny Motion Group, Haunting Guitars
Jerry Dammers, Empty Library
Marc Shearer, Magma on my Mind

.zip here

"Connect Transfer" by Shen Wei Dance Arts

2011-12-02T16:28:00.001+01:00

Brainwaves: The Monroe Institute (2)

2011-11-30T19:13:00.001+01:00

Oh, Why so Many Palm Trees? In Fact, We Don't Care: Dirty Beaches

2011-11-30T17:15:00.001+01:00

A Sierpinski Gasket

2011-11-30T15:56:00.000+01:00

Spectre Visions: Larry Cuba's Calculated Movements (1985)

2011-11-28T14:10:00.000+01:00

Elizabeth Streb

2011-11-27T17:08:00.000+01:00

安心 Mix, par O. Lamm

2011-11-26T17:57:00.025+01:00

Olivier Lamm est musicien (O. Lamm) et critique (musical, littéraire). Il vit à Paris. Nous aimons sa musique, lisons ses écrits avec passion et admirons l'étendue de sa culture "sonique". Après Pacôme Thiellement, écrivain, cinéaste le mois derniers (voir ici), nous sommes heureux et fiers de compter O. Lamm parmi nos invités pour une carte blanche en forme d'exploration lettrée de sa fascination actuelle pour la pop d'avant-garde japonaise Eighties. Il s'explique.

J'ai commencé par envisager cette sélection de manière thématique, traçant des lignes, des croix et des diagrammes entre des esthétiques, des âges et des territoires dont je me suis souvent retrouvé à fouiller les vide-ordures. Après plusieurs séances d'écumage, ma thématique s'est pourtant trouvée réduite à une petite part incongrue: un bon nombre de morceaux fétiches, adorés, dont je ferais mieux de réserver l'écoute à ma mie et à mes proches. Mais mes proches sont cruels - comme les vôtres, probablement. Sans déclaration d'intention ni intention de nuire, voici donc la réduction: de la musique en provenance du Japon, principalement produite pendant la première moitié des années 80. Chaque morceau est interconnecté au suivant d'une manière ou d'une autre, via des influences, de collaborations ou de studios partagés (celui de Haruomi Hosono, surtout).

télécharger 安心 Mix

Ryûichi Sakamoto, "日立Ci『伝統美』"

Le titre veut dire "beauté traditionnelle", il me semble, et c'est un morceau composé dans le cadre d'une publicité pour Hitachi. Le contraste entre les arpèges futuristes (et très européens) du début et la tendresse des accords qui les explicitent ensuite fait partie des plus beaux de cette époque, et des plus intenses de Sakamoto lui-même. (A noter que vous avez échappé à un extrait de la b.o. de Chatran - j'ai des états d'âme).

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Chakra, "III"

Je suis un grand fan de tout ce qu'a fait Mishio Ogawa, que ce soit avec Wha-ha-ha, Kyohiko Senba (au sein de son big band Haniwa All Stars) ou Haruomi Hosono (au sein du groupe "shima-uta ambiant" Love, Peace & Trance). "III" est une parenthèse nocturne sur un album très diurne, belle à ne jamais s'endormir.

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Testpattern, "Friday"

Testpattern était un duo électronique signé sur Yen Records, le sous-label d'Alfa dirigé par Yellow Magic Orchestra. Ils n'ont sorti qu'un seul album et participé à un split lp avec le grand Koji Ueno, d'où est extraite cette pépite co-produite par Hosono et YukihiroTakahashi. "Friday" (ou la vie sauvage?) capture enfin un fantôme après lequel j'ai couru pendant des années et des années: la tikii exotica parfaitement gracile et bienveillante de Martin Denny intégralement redessinée avec des synthétiseurs. Même les oiseaux sont faux. Dans quelques années, ce sont eux qui annonceront le retour du printemps.

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Saeko Suzuki, "Baobab Hito"

J'ai découvert Saeko Suzuki il y a deux ou trois mois. Je l'écoute à peu près obsessionnellement depuis. Elle compose beaucoup pour les autres - le cinéma, la pop, la télévision - mais pendant la première moitié des années 80, elle était aussi percussionniste pour Sakamoto, idol (j'aimerais écrire diva) pour les charts Oricon et femme de Keiichi Suzuki, leader des excellents Moonriders. Elle se décrit elle-même comme une "techno-impressionniste" et je serais bien en peine de trouver une expression plus adéquate. Sur cet album enregistré en 1983 et qui s'appelle "I wish it could be Christmas Everyday", elle utilise le CMI Fairlight de Haruomi Hosono, qui fut le premier à en posséder un au Japon.

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Shi-Shonen, "Bye Bye Yuppie Box"

Shi-Shonen était le groupe jumeau de Real Fish. Tout dans cet hommage aux Buggles me donne envie de pleurer, de l'étrange accent de Hiroshi Watanabe aux choeurs de l'outro, tout près de l'abîme.

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Tama, "Giga"

Tama est probablement le groupe le plus bizarre à avoir atterri sur une major japonaise dans les années 90. Leur destin est inextricablement lié à ceux des Pascals et de Shoko "Jon the Dog" Uehara. Cette chanson parle du soir de Noël. Je rêve de la reprendre un jour, même si je n'ai aucune idée de ce que je pourrais bien lui amener.

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Haniwa Chan, "Minato"

Haniwa Chan est la version de poche du Haniwa All-Stars de Kyohiko Senba. Je crois que les points de bascule entre les couplets très tendres (où la chanteuse Reichi évoque Akiko Yano sans la singer, c'est une aubaine) et les refrains tout en échantillons idiots parlent d'eux-mêmes. Cette pop scénarisée comme une aventure, un peu démente mais très humaine est vénérée par quelques gens très bien, dont Chris Cutler ou moi.

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Chakra, "Itohoni"

Voici la grande aventure de "Satekoso", le deuxième album de Chakra produit par Haruomi Hosono et Hideki Matsutake de Logic System. Il s'y passe beaucoup de choses merveilleuses, dont un bon nombre a un rapport avec Okinawa.

Saeko Suzuki, "Adventures in South Pacific"

Je ne sais pas trop si l'émotion si intense que dégage ce morceau (qui clôt le très beau "Studio Romantic", son "Smile" et son chef d'oeuvre produit par Andy Partridge de XTC, si, si ) coule de ses arrangements (l'unisson piano/voix qui se ballade dans la stéréo, le marimba adorable qui couvre l'arrière-plan comme une pluie équatoriale) ou de sa montée harmonique (ailleurs, un cancer pop). C'est un morceau précieux, à préserver, à ne pas écouter trop souvent.

Beautiful Hummingbird, "Edwelweiss"

Connaissez-vous Mitsuko Koike? Sur cette reprise du classique de Rogers & Hammerstein, adaptée par Tatsuki Hashimoto et Hosono avec un DX-7 et trois cuivres , elle fait quelque chose que je n'ai jamais entendu ailleurs.

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Tachiko Hatôyama, "Shima Yakara"

Je ne sais rien sur cette sirène d'Okinawa, découverte sur la magnifique compilation "Ryukyu Rare Groove - Shimauta Pops in 60's-70's", mais je l'écoute presque tous les jours.

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Dark Ducks, "Dandy Dandy"

Je crois que les Japonais exsudent l'une des nostalgies les plus contagieuses du monde. Je n'ai bien sûr jamais entendu les Dark Ducks dans mon enfance, parce que je suis né en France, parce que j'ai 32 ans, parce que leur technique de vibrato est effrayante. Cette chanson a été écrite par Haruomi Hosono dans le cadre d'un come-back du groupe vocal à la fin des années 80, sûrement marketé par une marque de bière.

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Spectre Visions: Arabesque by John Whitney and Larry Cuba (1975)

2011-11-25T10:05:00.002+01:00

Forêt vierge III

2011-11-23T00:00:00.006+01:00

Vasilisa the Beautiful at the Hut of Baba Yaga, by Ivan Bilibin

Amen Dunes, Baba Yaga
Woodsman, Insects
The Alps, Black Mountains
Nick Drake, River Man
Anne Briggs, Thorneymoor Woods
Bridget St. John, Autumn Lullaby
Mary Hampton, Benjamin Bowmaneer
Chad VanGaalen, Willow Tree

Get it HERE

What's a Caveman to do (Tonetta)?

2011-11-22T19:31:00.008+01:00

I’ll be your drain tonight.” How’s that for an opening line? Unforgettable? Perverse? And yet somehow... tempting? Keep in mind that it’s being delivered by a man in his early 60s, with a platinum-blond wig screwed to his head as he shakes his moneymaker for the camera in his Toronto apartment. Although the “Dancing With Myself” factor may be precipitous, Billy Idol has nothing on this guy. In his “Grandma Knows Best” video he’s totally buff, squeezed into a little black bikini bottom, with his hair cut short and spiky. His styling decisions are nothing if not deliriously twisted. For “Sweet & Sexy,” his face is obscured by what looks like a white porcelain doll mask. Visual and sonic collisions can be eerily inspired. Dressed in a belted lady’s swimsuit and singing about Jesus, he’s a gnarly Serge Gainsbourg meets a silvery Jeanne Moreau by way of 1960s French yé-yé. Equally cool and disturbing, this is Tonetta, one Tony Jeffrey, an artist, songwriter, performer, and contagious force of nature. In a world of parrots, Tonetta actually lip-synchs to his own lyrics. “What’s a caveman to do?” he wonders. “Eat, drink, and screw/ That’s all I want and all I know/ I was blessed with a ten-inch pole.” While Tonetta has been recording his irresistibly catchy songs since ’83, the videos made at home have only been spilling out over the past two years, quickly finding a devoted if not bewildered cult audience via YouTube. Any artist would give his eyeteeth for the kinds of comments that are regularly showered on Tonetta: “I’ve never had this feeling before... I’m horrified but can’t seem to look away... like a car wreck.” “I’m blasting this and dancing in my underwear! Tonetta connection!!!” The most succinct is also the most undeniable, simply stated: “This cannot be unseen.”

While terms like “creepy” and “scary” come up with some frequency, Tonetta clearly offers something people are missing in their increasingly predictable lives, whether they know it or not, or care to admit. Tonetta’s redefinition of “guilty pleasure” isn’t simply a matter of permission, of allowing an audience to have a good time without any of the attendant and boring remorse: He gives himself permission. In a repressive society, doing exactly what you want is tantamount to the greatest crime of all; the ever-prolific Tonetta, particularly at his age, is a genuine role model, not a goody-goody type like Naomi Campbell or Tiger Woods or even Sir Elton John. When most people are busy rolling over and playing dead, Tonetta jacks up addictive hits like “Drugs Drugs Drugs” and “Yoassismine.” Pull the ninja mask over your head, break out the leather vest, oil up your six-pack, and get ready to wail on that toy guitar. Forget zoning out to a coma in the corporate atrium of MoMA, this is performance art, as messy, invasive, and unrelenting as the day is long. But just when you thought he couldn’t take you higher, there’s more. Tonetta, it turns out, is also an unexpectedly fine draftsman whose frisky imagination is at the service of curious drawings that skim the surface of the unconscious and plumb the depths of the everyday.

A tour of Tony’s drawing gallery is a matter not only of navigating a series of bizarre twists and turns but also of surrendering oneself to more mysterious and ravishing deviations for which you are never fully prepared. In one portrait, the upper half of a woman’s body faces forward, while the lower half is somehow turned around, pendulous breasts hung over the ledge of a considerably wide bottom: a crisscross Venus Hottentot. In another, a faceless figure, anatomically female from the waist up, has been endowed with a gargantuan uncircumcised penis. The naturalistic image of a naked skater would be unusual in and of itself, and yet the addition of an oversize beagle cradling her distended, pregnant belly gives one pause. A sweet black baby in its crib could have been copied from a family snapshot, but a group of tragically emaciated African children, wide-eyed and bearing empty cups, is its nightmarish inversion. Here, Tony asks, IS IT FAIR, and wisely omits the question mark. As social realism turns toward a free-floating surrealism, we are submerged into pure reverie. In one dreamlike image, the corpus of a woman embodies a trio of alien lovers. Or an adorable ET is somehow enraptured by a veiled baby-elephant trunk. (Of course it’s not, but we’re adrift in magic ether. Suspend your disbelief for the briefest of moments, at least.) For all that seems “disturbed,” there is real poignancy and tenderness in these drawings, and as befits a worthy heir to the realms of the surreal, an obvious undercurrent of obsession and an unrepentant delight in fetish. Welcome to the world of Tonetta. Drain you.

(Bob Nickas for Vice Magazine)

Heaviest thanks to Daniel Dewar, while waiting for his ever much wanted compilation for /S/M/S/.

Orchestre Mort: John Maus

2011-11-22T10:32:00.002+01:00

John Maus "And the Rain" from Eric Fensler on Vimeo.

Romeo Void

2011-11-20T18:05:00.002+01:00

Spectre Visions

2011-11-20T17:47:00.007+01:00

1977: the computer graphics for the first Star Wars film created by artist Larry Cuba at the Electronic Visualization Laboratory (EVL) (at the time known as the Circle Graphics Habitat) at the University of Illinois at Chicago. More on Larry Cuba soon.

Exotica (Big Love) Weirdness

2011-11-20T17:39:00.002+01:00

The Tornados, Telstar
Pouran, Shahre Paiz
Ojoobeha, Dar Aseman Ashq-e-man
Manouchehr, Vadeye Dour Dour Nemikham
Aref, Ay Dokhtar
Said Darwish, Arabesque
Omar Khorshid, Hebbina Hebbina
Mounir Mourad, The Factory Theme
Professor Jay, Nikusaidiaje

.zip here.

Universe, five.

2011-11-20T17:07:00.006+01:00

Patrick Bernhardt, The Song of the Universal Light

Universe, four.

2011-11-18T03:10:00.008+01:00

"Biggest sculpture on earth": Michael Heizer’s Levitated Mass, a 340-ton, granite boulder, near Riverside, California

Brainticket, To Another Universe

Strange Powers

2011-11-17T15:37:00.001+01:00

The Magnetic Fiels, Strange Powers

Exotica Weirdness Continued

2011-11-16T09:54:00.004+01:00

Daphni, Jiao
German Army, Guinea Strongarm
Mickey Moonlight (feat. Fimber Bravo), This Son

Universe, three.

2011-11-15T16:07:00.002+01:00

Acid Mothers Temple & The Melting Paraiso U.F.O., Ange Mécanique De Saturne (from Univers Zen Ou De Zéro À Zéro)

Miragism

2011-11-13T12:35:00.003+01:00

Thanks to Maxime Guitton.

Universe, two.

2011-11-13T09:15:00.005+01:00

M. Heizer

Alice Coltrane, Universal Consciousness

Shana Moulton

2011-11-13T02:04:00.000+01:00

Universe, One.

2011-11-12T23:53:00.011+01:00

M. Heizer

The universe is commonly defined as the totality of everything that exists, including all matter and energy, the planets, stars, galaxies, and the contents of intergalactic space. Definitions and usage vary and similar terms include the cosmos, the world and nature. Scientific observation of earlier stages in the development of the universe, which can be seen at great distances, suggests that the universe has been governed by the same physical laws and constants throughout most of its extent and history. There are various multiverse theories, in which physicists have suggested the universe is one among many universes that likewise exist.

Angus MacLise, Universal Solar Calendar

Now is the new New

2011-11-07T21:47:00.002+01:00

It's 11.20 am

2011-11-05T10:57:00.012+01:00

M. B.

Barbara & Ernie, Do you know
Ocelote Rojo, Tenochtitlan Sunbeam Gun
Gary Higgins, Thicker than a smokery
Gary Farr, Goodbye

Brainwaves: How to Operate your Brain, by Timothy Leary

2011-11-04T19:56:00.001+01:00

YEMENWED

2011-11-04T16:12:00.001+01:00

EPISODE 3 from YEMENWED on Vimeo.

Woman Merges w Car, No. 3 from YEMENWED on Vimeo.

Sept, par Pacôme Thiellement - Compilation (2011)

2011-11-04T12:47:00.006+01:00

Sept morceaux. Sept photos. Sept phrases.

Frank Zappa, Cletus Awreetus-Awrightus Original post

Secret Chiefs 3, Ishraqiyun - The Three Original post

Art Ensemble Of Chicago, Peter And Judith Original post

Igor Stravinsky, L'Oiseau de feu - Berceuse Original post

Thelonious Monk, Black & Tan Fantasy Original post

Harry Partch, The Pilgrimage Original post

Billie Holiday, If I Were You Original post

Sept, par Pacôme Thiellement - VII

2011-11-03T16:40:00.005+01:00

1. « Cletus Awreetus-Awrightus » : J’aurais refusé de naître si la musique de Frank Zappa n’existait pas.

Sept, par Pacôme Thiellement - VI

2011-11-02T16:26:00.006+01:00

2. « The Three » : Produisant le sénaire-septénaire de Secret Chiefs 3, Trey Spruance est comme une boussole, non seulement dans la musique, mais dans la vision métaphysique du XXIe siècle : notre nord magnétique.

Distance

2011-11-02T01:02:00.010+01:00

Terry Riley, A Dervesh In The Nursery

Francois 'Faton' Cahen, Musharabieh

John Cage, Dream

Peter Garland, Hermetic Bird

Alice Coltrane, Turiya And Ramakrishna

The Keith Tippett Group, Green And Orange Night Park

The Open Window, Piano Concerto No. 1 In G Major

R. Stevie Moore, Goodbye Piano

Riyuichi Sakamoto, The Sheltering Sky Theme [Piano Version]

Sun City Girls, Vine Street Piano

Tsegué-Maryam Guébrou, Evening Breeze

Stevie Nicks, Rhiannon [Piano Version]

Erik Satie, Gymnopédies (3), for piano (also orchestrated by Debussy): Gymnopedie No 01, Interpreted by Pascal Rogé

To Francois 'Faton' Cahen (1944-2011)

100,46 MB of Piano Phase (II)

Sept, par Pacôme Thiellement - V

2011-11-01T16:59:00.002+01:00

3. « Peter and Judith » : Carnavalesque, super-artiste et enivrant, The Art Ensemble of Chicago se contente ici d’exposer un thème, très court, mais d’une beauté si dense qu’elle continue à vous hanter et à insister tout le jour.

"Painter" by Paul McCarthy

2011-10-31T20:22:00.001+01:00

Sept, par Pacôme Thiellement - IV

2011-10-31T09:14:00.002+01:00

4. « L’Oiseau de Feu » : Igor Stravinsky, la berceuse définitive.

Sept, par Pacôme Thiellement - III

2011-10-30T10:43:00.004+01:00

5. « Black & Tan Fantasy » : Quand Thelonious Monk joue Duke Ellington, filtrant ses arrangements grandioses et son exquise délicatesse, tout ce qu’il y a de profondément freak dans la musique du maître apparaît.

Sept, par Pacôme Thiellement - II

2011-10-29T11:17:00.004+02:00

6. « The Pilgrimage » : Au-delà du rythme, au-delà de l’harmonie et des notes de notre gamme, Harry Partch a trouvé quelque chose que nous ne connaissons pas mais que nous savons être nôtre.

Sept, par Pacôme Thiellement - I

2011-10-26T10:03:00.006+02:00

Sept morceaux. Sept photos. Sept phrases.

7. « If I Were You » : Les chansons de Billie Holiday naissent de la banale atrocité de la vie ; elles sont transmutés par la dignité et le courage, et elles produisent une lumière éclatante qui se réfracte sur toutes choses.

Eternal Return: Alasdair Roberts (with Luke Fowler)

2011-10-24T04:48:00.007+02:00

Alasdair Roberts & Luke Fowler, Under no Enchantment (But my Own), 2009. Produced by Drag City taken from the 2009 album Spoils. Film and original sound recorded on location around Glasgow and Callander on a Bolex 16mm camera and Hard Disk recorder with MS Sennheiser microphones. Transfered to digital medium for editing and distrubtion.

"Q: In the U.S., "folk music" still has the connotation of being a populist kind of thing, Pete Seeger, Woody Guthrie – plainspoken songs about the working class, simple melodies, straightforward lyrics, etc. But in the folk music of Ireland/England/Scotland, there seems to be more surrealism/symbolism, and I definitely feel like your songs reflect this. Where do you think these surrealistic leanings come from? I have a theory – the Book of Revelations – but I'm interested in your thoughts on the subject.

A: I suppose that kind of surrealism/symbolism in the British music has always been there in things like nonsense and topsy-turvy songs and riddling traditions which go back centuries. Often the old ballads seem like symbolist texts in a way, but they're more complex and polyvalent than that. The Revelations thing... I suppose that when I was writing the songs I was spending too much time alone reading things like that, also the Book of Ezekiel, as well as Jungian stuff, particularly "Seven Sermons to the Dead" and Emma Jung's book on the grail legend, Gnostic texts, "The Chymical Wedding of Christian Rosenkreutz" as well as a lot of mythological stuff – The Irish Tain (Cattle Raid of Cooley in Colm Toibin's splendid translation) and the Welsh Four Branches of the Mabinogi (in Sioned Davies recent great translation), as well as the Grimm stories, traditional Scottish folk tales from the late Duncan Williamson and Robert Graves' collections of Greek myths ... and a book of mediaeval Gaelic poetry in translation called "Songbook of the Pillagers" and Alexander Carmichael's "Carmina Gadelica", all things which will have continuing interest for me... and listening to a lot of Scottish, English, Irish traditional singers and songs, at the same time trying to absorb and explore some of my German heritage by listening to Wagner and reading Thomas Mann and Goethe und so weiter ... all of which influences seeped into the songs to some extent ... although it's hardly Wagner, haha!!! I'd just come back from tour in the States and was rediscovering my Scottishness and Europeanness, I suppose. At the moment, I'm beginning to explore Scottish Gaelic song and music a lot more and am hoping to learn the language eventually, which I feel I should have done years ago.

There are some amazing singers in this land. The idea of "the great unveiling" in one song I suppose is a reference to some idea of imminent revelation; these do seem like dark and turmoiled times. It's hard to comprehend the vastness and purpose of the cosmos and one's place in it, the point of one's endeavours in whatever field. I don't subscribe to any particular belief system but I suppose some of these songs are interrogations of faith and so on... the idea that there might be some innate religiosity to which certain people are predisposed... (I don't subscribe to any particular faith but I wonder whether one day that might change in some great unveiling) and the idea of the "Celtic"... not wanting to sound too pompous about it. The first song has specifically Jungian references to the "sermons seven" and mandalas... it's like a quest song against conflict and towards individuation. I know a lot of people with strong political or religious convictions whose musical and artistic practice is guided by that – in some ways I envy that kind of certitude, but I suppose my thing is always about flexibility, multiplicity, confusion wanting to reflect the turmoil of reality... always trying to remember that the oar in the ocean is a winnowing fan on dry land.

Was traditional music something you grew up singing/playing, or did it come to you later in life? What was it that made you fall in love with this kind of music? What were some of your early experiences with the genre – performers, recordings?

My father Alan was a guitarist and singer – he had a duo with a guy called Dougie MacLean. They toured a lot in Europe in the seventies and my folks also ran a booking agency in Germany for a while. One of my earliest influences guitar-wise and vocally was an English singer called Nic Jones – a beautiful guitar style and voice. I think like a lot of people of my generation there's a complex relation to ideas of "tradition" – a respect for it and at the same time a slight repulsion towards aspects of it – the awareness of the wideness and complexity of music-making which goes on, the sheer overwhelming amount of music being made which could give potential influence ... which some days makes one forlorn but other days give one certainty that whatever one does is of some kind of worth. I suppose that on the record the first song in some ways explores the idea of "eternal return" – I was reading Mircea Eliade on the subject, and Nietzsche Nietzsche obviously wrote about it – I became obsessed with the idea and the various ways in which it could be configured. There's obviously the classic image of the ouroubouros serpent ouroubouros serpent ... but I was also think about it in terms of the myth of progress – when what we think of as progress is actually destruction. Like Kekule's ring, Benzene. And the fact that I personally constantly return to Song as a form of "expression" or creation rather than, say, improvisation or composition. This extends into another theme of the record in the song about Ned Ludd, the idea that "technology" is an emancipatory force.

Everywhere I go I hear amazing musicians from all kinds of fields, which is a challenge to one to improve ... but it also makes me wonder about how to make music which is in some way unique and interesting without relying on virtuosity, and this is where The Shaggs, say, give me hope – I suppose this time my way of trying to do it was by writing a bunch of "syncretic"songs with a lot of words in them and trying to have them arranged and structured in new ways.

Listening to Spoils for the first few times, I pictured the songs being set in the distant past, but on closer inspection, it seems that they could be set in the present day, or even in the future. Do you see these songs as having a specific time-period setting or are they meant to be more timeless in that regard?

I suppose it comes back to one configuration of the idea of "eternal return" – of history repeating. War and pestilence have always been and will always be – the Crusaders of yore have their parallels in the present day and in the distant past. War and wrongness have always and will ever be ... as will love, kindness and altruism, one likes to believe. There are some very specific contemporary references on the record – "empty browsers" being a prominent one – but for some reason in the songs I'm always drawn back to something more elemental and organic ... the "natural world." But a song like "So Bored Was I" there's a reference to a very specific contemporary piece of psychological research I'd read about, the idea of the "dark triad" of personality types which meet in the Alpha Male – narcissism, sociopathy and Machiavellianism, which I kind of conflated with the idea of the Three Ages of Man singing together. Anyway, I don't have a specific time period in mind – more like when I sing the songs I'm closing my eyes and mentally navigating a physical landscape and very much associate certain songs with specific experiences and individuals ... in some ways a few of them are autobiographical, in a veiled, symbolic kind of way.

The band interplay on Spoils is great-- what do you look for in your musical accompanists? Is being immersed in folk/trad music a requirement?

Immersion in traditional/folk music is not a requirement at all ... the players on Spoils come from a very wide array of musical backgrounds. In some ways this was my thought about the record being "syncretic" – that in its arrangements and personnel it would yoke together many possibly contradictory standpoints and belief systems ... for example by having Alex, a drummer extremely knowledgeable about and well versed in free improvisation playing with Gordon, who has studied lute, baroque guitar and theorbo and normally interprets the historical repertoires of those instruments ... completely different musical backgrounds. I actually met Gordon in an airport – he let me skip the queue – I doubt we'd have worked together if it hadn't been for that chance meeting. And David McGuinness who did the viol arrangements and played harpsichord and harmonium is a musical savant and virtuoso all round. There are too many players to mention but it was such an honour that all these talents were interested in the record project and gave their time and effort for the songs.

There are so many wonderful and strange words and phrases on this record – "desacralised," "Encrusted with amethyst and topaz and beryl," "The shackled harper," "bilious and saturnine," "Sterile rams and simulacrum," etc. Where do you get these phrases – are they borrowed from old texts or are they of your own invention? What is it that you love about this archaic-sounding language?

Sometimes I do pilfer words from whatever I'm reading - see the list I've already given... and a lot of poetry and so on which I've read. Before I was really into music I think I was more into language - if I hadn't gone into music I might've done something like historical or comparative linguistics. Maybe I still will. I'm particularly fascinated by the Nostratic hypothesis ... language in general, but I've never been that focused on one language in particular apart from English (though I was raised with a bit of German at first)."

(from an interview from 2009 with Tyler Wilcox on Junkmedia)

The residue - they call art (...)

2011-10-23T23:22:00.002+02:00

Ryūichi Sakamoto, Discord (1998)

2011-10-23T14:11:00.007+02:00

"A: I wanted to follow the philosophy of John Cage, that there's no boundary between sound and noise. I have never been able to accomplish that before as an artist. I've used noise a lot in the past. I think with this, I have, I hope, truly focused on deconstructing that boundary.

Q: I know Debussy and Satie are inspirations. You did an aptly titled album in 1997 called Discord that you made as your introduction to classical music. Do you think you bring something to classical music that hasn't been there before?

A: The classical background of mine is always there. Sometimes it's more obvious than others. I feel strange saying this about myself, but I have many aspects to my sound — many faces or sides, if you will. I think my love of techno, world music, bossa nova, whatever, it all comes out. This is all me. Certain audiences claim me for their own, some from electro pop, some just soundtracks. There are people who know me for opera. But even the music of Yellow Magic Orchestra, which was, what, some 30 years ago, you can hear elements of symphonic music." (from an interview with. A.D. Amorosi, 2010)

Discord is a "multimedia" project by Riyuichi Sakamoto from 1998. It has been developed with the collaboration of DJ Spooky, David Torn and "The Orchestra", conducted by Yutaka Sado. Released in 1998, it was composed of an audio CD with a blue pseudo-monochrome cover, which presented a composition divided in four tracks, and offered an audiovisual counterpoint when played on a computer.

More can be seen on the project's website.

Ryūichi Sakamoto, Discord

Sony Classical, 1998

01. Grief

02. Anger

03. Prayer

04. Salvation

.zip

Exotica Heroica

2011-10-21T13:32:00.000+02:00

Epileptic Cinema

2011-10-20T18:50:00.001+02:00

Paul Sharits, T, O, U, C, H, I, N, G, (1968)

O Superman

2011-10-20T15:50:00.002+02:00

thx to Judy Mitnick

⌘ (Compilation, 2011)

2011-10-19T23:05:00.020+02:00

E. Rossetti

d'Eon, Transparency

James Ferraro, Life In A Day

Ford & Lopatin, World of Regret (Instrumental version)

Light Asylum, A Certain Someone

Tropic Of Cancer, Be Brave (Richard H Kirk Remix)

John Maus, Quantum Leap

Prins Thomas, Ny Maskin

SLEEP ∞ OVER, Casual Diamond (Laurel Halo Remix)

Protect-U, Double Rainbow

The Jet Age of Tomorrow, Love In The Purple Forest

Get

Day Tripper

2011-10-18T12:47:00.006+02:00

Etienne O'Leary, Voyageur diurne, 1966

"La filmographie du réalisateur québécois Étienne O’Leary comprend trois films expérimentaux complétés à Paris entre 1966 et 1968. Day tripper, Homeo (aka Homeo : Minor death : Coming back from going home) et Chromo sud constituent un cinéma de résistance. Les contributions d’Étienne O’Leary au cinéma underground français ne se limitent cependant pas qu’à l’introduction d’un nouveau langage cinématographique. La virulence de son œuvre repose sur trois trames sonores qu’il compose lui-même durant la deuxième moitié de la décennie soixante – c’est une musique inquiétante qui n’a d’écho que dans les films pour lesquels elle a été conçue".

More about Etienne O'Leary, Musique de Films (1966-1968) here

Free record of the week: Rien

2011-10-17T17:39:00.008+02:00

Rien, 3

Amicale Underground, 2010

Get it here

Still available for download on the label's website

Brainwaves: Valley of the Sun Publishing

2011-10-16T16:50:00.010+02:00

Hypnosis track

From 4 Hours Restorative Sleep Hypnosis, by Dick Sutphen

Valley of the Sun Publishing

Mind Travel (tape 1)

From Mind Travel, by Dick Sutphen

Nightingale-Conant Corporation

"This altered state will enable you to:

- enhance mental perception by combining sensory and emotional visualizations

- create a "Higher Self Sanctuary" where you are free to explore and program your mind

- access your own past-life experiences and fine solutions to present day issues in your past life scenarios

- explore past, future and remote events

- practice pre-cognition on command by transcending physical boundaries of time and space

- heal physical and psychological challenges by travelling to the source of these problems"

Trance Sex (subliminals)

From Trance Sex, by Dick Sutphen

Music, Theta Waves & Sensual Subliminal Suggestions

Valley of the Sun Publishings, "Hypnotic Music" series

"For erotic massage and making love. You’ll hear soothing music, combined with trance-inducing theta waves -- resulting in a shared, eyes-open altered state of consciousness. Embedded in the music are sensual subliminal suggestions. The expected result is an enhanced sexual union -- a merging of two souls who experience each other at a deeper level.

Lovers may perceive shared visions. Some have reported feeling an a new sense of oneness. Others have claimed a soul-bonding “afterglow” which lingered long after making love. Use regularly to enhance effectiveness. When you’re both ready to fully awaken, count yourself up from one to five and say the words, “Wide Awake.”

The Subliminal Suggestions. The following words are repeated over and over behind the music -- unheard by your conscious mind, but perceived by your unconscious. “Sensual. Bonding. Seductive. Love. Sex. Union. Two into one. Arousal. Desire. Passion. Merge soul energy. Become one. Longing. Attain wholeness. Completeness. Love. Beloved. Whispered words. Whispered desires. Love. Passion. Melding. Merging. Intensity. Excitement. Love. Passion. Hunger. Thirst. Love. Craving. Carnal. Heat. Urgency. Love. Flesh. Tantalizing. Zeal. Stroking. Fondling. Love. Taste. Rhythm. Passion. Love. Satisfaction.”

Biography

"Dick Sutphen has established distinguished careers in advertising and audio publishing, in addition to writing several bestselling books and conducting seminars for over 185,000 people.

Dick grew up in Nebraska in the 1950s and after high school worked in an advertising agency art department for a year before attending the Art Center School in Los Angeles, California. Starting out as an art director for major advertising agencies, he went on to receive over 150 awards for creating outstanding advertising and design for clients such as Scotch Tape and Betty Crocker. While still working for the agencies, he launched a publishing company on the side and was soon selling books to the professional advertising market internationally. His book, The Mad Old Ads was published in 1966 (McGraw Hill--U.S. and W.H. Allen--England) and received huge reviews, including a full page in Newsweek.

The publishing venture encouraged him to open his own business--a creative studio, which initially serviced ad agencies in Minneapolis, while also creating hundreds of contemporary cards for Hallmark. After moving his studio to Scottsdale, Arizona, Dick continued to work with ad agencies and directly for clients such as Texaco Aviation, the city of Scottsdale and political candidates. He expanded his writing to include a series four-wheel drive articles for Outdoor Arizona magazine and humorous articles for the local newspapers.

Effective advertising is the power of persuasion. In the mid-seventies, Sutphen sought to expand his understanding of this power by studying brain/mind technology and hypnosis. One of the studio offices became the Scottsdale Hypnosis Center--a place to experiment with metaphysics, group hypnosis and past-life regression.

As a result of these explorations, in 1976 he created and marketed the first prerecorded hypnosis tapes through his own company, Valley of the Sun Publishing. Today, the company is a leader in this field, offering over 200 audio and video titles in world-wide release. Valley of the Sun New Age music is often on distributors' top-ten lists.

The Hypnosis Center explorations also led to writing a book: You Were Born Again To Be Together (Simon & Schuster Pocket Books 1976). It has never gone out of print and has sold nearly a million copies. Six additional titles on reincarnation and karma followed from Pocket Books, including Predestined Love, Finding Your Answers Within, Earthly Purpose, and The Oracle Within. Valley of the Sun published 12 more metaphysical titles. A 1991 dark-fantasy collection of short stories published by Spine-Tingling Press was nominated for a Bram Stoker writing award.

Dick is often a featured speaker at conventions such as the American Council of Hypnotherapy. Sutphen Seminars are conducted annually in as many as 35 U.S. cities and England, Ireland and Australia. He has appeared on hundreds of local and national radio and TV shows, including Phil Donahue, Good Morning America, and Tom Snyder, where he conducted the first televised past-life regression. David Susskind built a 90-minute show around Dick's work.

Dick and Tara Sutphen have been together since 1983 and live in Malibu, California with their children, horses, dogs and cats. Their reincarnation research is currently centered upon the concept of past-life themes and documenting one of Tara's case histories--a fascinating past-life/spirit guide connection that relates back to a shared incarnation in France."

(From Valley of the Sun's website)

L'infini

2011-10-15T12:08:00.004+02:00

Henri Michaux and Eric Duvivier, Images du Monde Visionnaire (1963)

"L’oeuvre d’Henri Michaux est encore sous-évaluée, ou plutôt interprétée à côté de son centre. Poète, oui, si l’on veut, et peintre, en effet, auteur de récits multiples, voyages imaginaires, Grande Garabagne et Pays de la magie. On admet généralement qu’il s’agit d’un écrivain à tendance fantastique, mal classé quelque part entre Swift, Kafka et Borges. On s’étonne de le voir aussi indépendant, autonome, pas du tout idéologue dans une époque qui en regorge ; absolument pas militant, naturaliste, réaliste social, populiste, humaniste, moraliste ou immoraliste. « J’écris pour me parcourir », dit-il. « Peindre, composer, écrire : me parcourir. Là est l’aventure d’être en vie. » N’empêche qu’en se parcourant il rencontre de drôles d’humanoïdes comme les Hacs ou les Emanglons, dont les coutumes et les rituels ne visent à rien moins qu’à une barbarie de spectacles absurdes. On lâche le soir une panthère dans les rues, c’est le spectacle n 72. Vers les 4 heures, c’est un lâcher d’ours et de loups, spectacle n 76. Des hommes s’écrasent la tête à coups de sabot, spectacle n 24. On allume des incendies pour rien, l’insécurité règne, la violence est gratuite et, si quelqu’un respire mal, on l’étouffe dans les plus brefs délais. Les célibataires sont poursuivis et froidement abattus : ils font désordre. Il y a même une Société pour la persécution des artistes. On se demande où Michaux est allé chercher tout ça en 1936 ou 1938. Mais là, justement, tout près, en plein effondrement de l’Europe.

Il est négatif et noué, Michaux, il n’a pas bon caractère. « Dès qu’on oublie ce que sont les hommes, on se laisse aller à leur vouloir du bien. » Il invente « la mitrailleuse à gifles », ce n’est pas civil de sa part. Il dit : « Le noir est ma boule de cristal. Du noir seul, je vois de la vie sortir. » Ce n’est pas bien non plus. Au lieu de s’engager vers des lendemains qui chantent, de participer à la création d’un monde et d’un homme nouveau, il avoue « vouloir dessiner des effluves qui passent entre les personnes ». Des masses enthousiastes se rassemblent, lui ne voit que des lignes, des rêves de lignes, une poudre de points. Il rentre d’une exposition de Paul Klee « voûté d’un grand silence ». Il veut « dessiner la conscience d’exister et l’écoulement du temps ».

Tous ces textes, avant la grande rencontre de sa vie, sont ingénieux, inégaux, parfois drôles, parfois ennuyeux ou statiques. Ce n’est pas ça. C’est du réactif. Il y a un verrou à faire sauter, au-dehors et en soi. Il faudrait une bombe, une vraie, pas celle du champignon nucléaire massacrante, une qui révèle de l’intérieur pourquoi on en est arrivé là. Eh bien, la voici, et de là datent des textes merveilleux et d’une actualité prodigieuse : la mescaline. Ces livres essentiels, de la seconde moitié des années 1950 du dernier siècle s’appellent Misérable miracle et L’Infini turbulent.

Le mot classique de « défonce » est faible pour décrire les effets de la mescaline. C’est un tremblement de terre, un séisme, une tempête de tous les instants. Il fallait un objet irréfutable à combattre et à intégrer au flottant Michaux, plutôt sobre de nature, méfiant, incapable de recourir à « l’affreux alcool ». Il prend sa dose, il entre en attente. Et voici un frisson, puis le « grouillement du possible ». Beaucoup de blanc, un océan de blanc, des contradictions à n’en plus finir, un envahissement, un ruissellement. De la couleur, enfin ? Oui, du vert. « Je suis composé d’alvéoles de vert. » Ou bien : « Je bourgeonne rose. » La mescaline est un continent de spectacles, tantôt grotesques, tantôt majestueux, dilatés, comprimés. « Une montagne, malgré son inintelligence, une montagne avec ses cascades, ses ravins, ses pentes de ruissellement, serait, dans l’état où je me trouve, plus capable de me comprendre qu’un homme. »

Et puis viennent les hallucinations. Que fait ce foetus, là, dans la baignoire de la salle de bains ? Cette femme qui est passée l’autre jour, plutôt discrète, est certes restée un peu longtemps aux toilettes, mais quand même. Une reproduction en couleurs tombe d’un livre : elle était là, on en est sûr. On la recherche ensuite : rien, pas de traces. On est maintenant dans une houle incessante, un tapis roulant, mais toujours avec l’impression d’être parcouru par un « sillon », une fracture, une fente dans le rocher de l’être. Il y a un « style mescaline ». Un style de mauvais goût, surtout, du genre bazar, kitsch, exactement comme dans la réalité sociale spectaculaire actuelle (comme si la mescaline était administrée désormais par la publicité ou la virtualisation imagée). « Faute de dieux : Pullulation et Temps. » La mescaline est « ennemie de la poésie, de la méditation, et surtout du mystère ». Elle cogne, elle déconstruit, elle détruit, elle est fondamentalement abstraite, toujours plus abstraite, dans une accélération fantastique des images et des idées. Tout s’émiette, tout devient fatras. « On n’en sort pas fier », dit Paulhan, qui participe à une des séances. Ça se répète sans arrêt, ça radote, ça relativise de tous côtés. Le langage est atteint : « Adieu, rédaction ! » Michaux, cependant, reste réveillé, il note, il veut se souvenir, témoigner, raconter. Et il y arrive. Et c’est cela la surprise. Un explorateur nouveau est là (après Baudelaire, De Quincey, Artaud - ce dernier, étrangement, Michaux ne cite jamais son nom). Ledit explorateur est entré dans le « stellaire intérieur ». Il griffonne, il dessine, il frotte, il sombre, il revient. « Au sortir de la mescaline, on sait mieux qu’aucun bouddhiste que tout n’est qu’apparence. Ce qui était avant n’était qu’illusion de la santé. Ce qui a été pendant n’était qu’illusion de la drogue. On est converti. »

Ces récits, très concrets, sont éblouissants de précision et de vérité, et on finit par oublier ce qu’il a fallu de courage et de ténacité (d’héroïsme) pour les rapporter des gouffres. Voici les tourbillons, les ondes, les saccades du chanvre indien, plus connu sous le nom de haschisch, son « rire sans sujet », son « comique métaphysique », son « doigté optique ». Le monde est infiniment absurde, on entre dans toutes les photos, on y vit des romans instantanés avec les personnages et les visages. « Que c’est merveilleux de regarder ! Comme c’est félin ! » Attention, les identifications sont redoutables et peuvent tourner à la possession dans certains états de transes érotiques. Michaux devient ainsi une jolie fille, ça le charme, mais ne lui convient pas vraiment. Une erreur dans le dosage mescalinien, et c’est l’expérience de la folie, la dure, la meurtrière, celle qu’on enferme. Bref, l’infini est là, partout en expansion, et « on est secoué, fou de dégagement et de rébellion contre toute obstruction et limitation ». Michaux finit par distinguer une expérience « pure » ( « milliers de dieux », « félicité d’ange » ), une démoniaque (grimaces, haine, épouvante), une autre enfin qui confine à la démence. Vous ne croyez pas au Diable ? Vous avez raison, il ne faut rien croire et se méfier de toute foi. Cependant, il se présente, l’Autre, l’Adversaire, « celui qui rabaisse, raille, refuse », le « ridiculisateur de l’âme chantante et ravie », « l’incessant inverse de tout courage, comme de tout idéal, incessant dénigrateur des grands élans et même du désir de survie ». Mieux vaut en avoir l’expérience que le découvrir trop tard. C’est un des avertissements de Michaux, lui qui a été navigateur en plein typhon, « ratissé », disloqué, broyé par la schizo mescalinienne. Lui qui raconte aussi des enchantements inouïs ( « Le nu n’est plus le nu mais un éclairage de l’être » ). Il y a la circulation de la communication et des apparences, et puis, en dessous, sans arrêt, l’enfer, l’extase, la folie. « Sous l’homme qui pense, et bien plus profond, l’homme qui manie, qui se manie. » Qui sommes-nous vraiment si « le corps est une traduction de l’esprit et le caractère un aménagement de courants » ? Voilà presque un demi-siècle que Michaux a posé la question. On ne la trouvera pas dépassée, au contraire." (Philippe Sollers, 2001)

Presentation by Henri Michaux here

Scopic Pulsion

2011-10-13T18:07:00.004+02:00

Eric Duvivier, La Femme 100 têtes (1967), after Max Ernst collage novel from 1929

"The visual poem belongs to a certain degree to the ancestors of cinema. The desire to bring it to the screen seems only natural. (…) Eric Duvivier’s attempt is a considerable success and I’m pleased to welcome it as the best surrealist film offered to us in thirty years or more." (

André Pieyre de Mandiargues)

Destroy All Monsters, I Started a Joke (2011)

2011-10-11T23:10:00.008+02:00

Destroy All Monsters, I Started a Joke

Unreleased, 2011

I Started a Joke - 4:58 - Destroy All Monsters, 2002 Live at ATP festival

I Love You But You're Dead - 2:07 - Destroy All Monsters 1975 w: Niagara /m: Cary Loren

Bebop Be - 0:47 - Jim Shaw - 1978

Broken Mirrors rev - 5:41 - DAM 1978, w/m: Benjamin Miller

Alice Coltrane - 7:25 - Destroy All Monsters - 2000 Los Angeles, practice session

Them; a DAM Symphony, first movement - 6:15 - Destroy All Monsters 1976

Queen of Egypt - 3:37 - Destroy All Monsters 1977

We're Gauche - 0:37 - DAM w/ Lincoln Yako 1975

Untitled Solo Guitar - 1:03 - Jim Shaw - 1977

November 22nd,1963 - 4:36 - Destroy All Monsters w/Cary Loren m: Ron Asheton

Too Bad for You - 2:09 - Destroy All Monsters w/m Cary Loren

It,It,It - 1:09 - /m Benjamin Miller

Body Parts (testicle bagpipes) - 1:51 - Destroy All Monsters, practice session 2002

Horrid Nightmare - 1:43 - Destroy All Monsters w/m Cary Loren

Untitled Solo Guitar #2 - 11:00 - Jim Shaw 1978

The Killer Walked - 0:43 - DAM Live at COCA, Seattle, WA 2000

small world - 2:30 - Destroy All Monsters ATP, 2002

Get Out of My Bedroom - 1:39 - Cary & Jackie Loren, Detroit, 1967

johnny_ala_mode - 2:54 - Mike Kelley & Jim Shaw DAM Audio letter, 1977

outerlimits_overdrive - 5:58 - Destroy All Monsters Practice sessions, 1998

Love Like Yours and Mine - 0:36 - Jim Shaw, 1977

Leak

Autoportrait d'un schizophrène

2011-10-09T22:29:00.005+02:00

Eric Duvivier, Autoportrait d'un schizophrène, 1977

This documentary movie was shot by Eric Duvivier with Professor D.J. Duché in 1977. Starring actor and film maker Pierre Clementi, it is conceived as a self portrait of a schizophreniac. Produced in a medical context, it appears, in fact, to be visionary visual poem trying to render the audiovisual perception of the world by a man who is subject to schizophrenia in the Paris of the late 70's. Featuring (I suppose) shots by Clementi himself and ghostly psychedelic evocations of Léo Ferré and free jazz music an astronaut, parisian dandies and a white mask, the Pompidou Centre and Light Conical Intersect by Gordon Matta-Clark...

More soon about Duvivier.

//S//

2011-10-07T18:32:00.005+02:00

Serge Bulot, Ballade pour Suzanne I & II

For Dandelion and White Chestnutree.