dear interested parties,

17 poke idopia. 17 poke narcadia. some pace elegiac, or dumdediddle; some eloin; some ordinate. some somnambulise - corporeal foucault, vegetable brecht et al, for instance - at fahrenheit 452; some are newshounds, albeit of Crowleyanity, etherealising grey volitia, until, at last, goliath leaves the avengers and lydon leaves led zeppelin. some prefer maps from memory - lovecraft at gethsemani, a point and click adventure etc. some gather around the sickbed, pear-shaped and devolving. 

A number of incidentals, if you will ...

A Quiet Monday & Abdul 'Ben' Camel say '...Open Translation document / The year is 2013 / There is in truth no 2012 - a numerical fiction / Of which dialecticians fight for on a stage of organic circuitry / Bill of lading, contents as follows; - Collection of silts from four-wave corners of the Milky Way (the one with life) - Rasputin's secret razor (East Mongolian origin) - One highly animated figurine; a Blind (Almost) cosmonaut, - His vehicle; a branded allegory - unwrapped by a Van de Graaff generator / He is renown / he is spectacle / he is form / he is history / His function - 'unknowns' as a process, audibles fading rapidly into the past, / Fading materially into visual transmission (sight being the last reception of science) / Regard such as least reliable - maintain equilibrium without effort / Accept motion as stability / Trust abstraction as concrete / End transitions...'
Colin John Conass says '...Si ce n'est pas aujourd'hui, il sera facile d'attendre que la mer redescende. Fouiller le sable pour y découvrir un sourire. Prendre la mer par la taille et chercher ses lèvres. Le sel absorbera cette tendresse absente...'
Anthony Donovan & Jaan Patterson say: '...(life without being fantasized about is what I seek. but has yet to materialise, as I have dreamed for. mean while i am no longer in a relationship, is cosensual, ok. i was in exploitation, a helpless one. my body is otherwise perfect, if you like augmented! several alterations not necessary, if you can accept on me. i can be your friend if i you like. love, ss.) Evidently, due to an untitled usury - age-old, malformed and discontent (or the blur, the paper-fold, the diatribulation) - I have to start with a capital letter. Effort ... and all in sunlight, too. Bother to read me; bother to in-read me. I am not boo hoo, through subtle, with my sexuality destroyed at a stroke. Who will I survive this time? My actual name starts with a capital letter. I don't need your consigns and self-making. Upon my ego, I wear my boots. (That concept, that construement, that spectral conversion.) Your non-acceptance, your way of thinking, is not so much beyond them, as mommy tells. The art of seduction seems to be missing. What shame awaits? How nice it would be / music: Anthony Donovan & Jaan Patterson / text: murmurists / movie: undRess Béton...'
Fonik say: '...The origins of Fonik date back to 1999 when both members worked in the Psychiatric Challenge Collective finally splitting to form the duo in 2005. Working essentially with free improvisation / experimental noise (using prepared guitars and electronics) Fonik have an uncompromising approach, blurring the boundary between music, noise and art. Performances are generally the ‘core two’ but occasionally an impromptu trio or quartet happens depending on situation / availability of the ‘occasional contributors’ listed below. The duo’s background is varied coming from jazz, avant garde, post rock, industrial and new music. Material recorded is occasionally reworked with various sound editing techniques bringing a completely new angle to the sound. It’s kind of a combination of traditional improvisation techniques combined with diy technology. Reworks can be done in real-time, this becoming an improvisation in itself, with parameters being tweaked as and when required. Otherwise traditional tape editing / musique concrete techniques are employed but using digital software. Recently Fonik have presented the films ‘Nosferatu’, ‘ Metropolis’, and ‘Das Kabinet’ providing a live improvised soundtracks (Manchester’s’ Green Room completely sold out). They are currently working on a re-edit of ‘Metropolis’ for 2009. Nosferatu with accompanying soundtracks is available on DVD from Electronic Musik. Foniks’ work is available on Electronic Musik, Casual Seizures, Earth Monkey Productions and Knife in the Toaster. Fonik have also made occasional appearances as part of Manchester musicians collective ‘Gnod’.  Gnod’s line-up shrinks and swells as the music rotates & expands to reach new frontiers and quite possibly other worlds. www.myspace.com/gnodgnod Fonik have been seen playing and sharing the bill with with (amongst others) Sun Ra Arkestra, Evan Parker, MoHa!, Damo Suzuki, Frakture Big Band, Bark!, Lol Coxhill, Acid Mothers Temple, Primordial Undermind, John Russell, The Good Anna, Spoils & Relics, Orion Arm, Blood Moon, Paul Bradley, Mayming, Naevus, Lee Patterson, Cheap Machines, Stables, Serfs, The A Band, Johnny Scarr, Ghost of an Octopus, Beach Fuzz, Peterloo Massacre, Hunter Gracchuss, Thee Moths, Graham Clark, The Long Tail, Paul, Gimp Nipples, Parting the Wild Horses Mane, Ford Maddox Brown, Baltic Fleet, Sonver, Petals,  Designer Babies, Duet for Theremin & Lapsteel,  Chora, Danny Saul, They Destroyed His Image,  Rhodri Davies, Eddie Prevost, Mark Wastell, Paul Rutherford, Phil Marks, Paul,  Philip Jeck, Keith Rowe, Colin Potter, Roy Harper, Tim Hodgkinson, Roger Turner, Solar Fire, Swung Dash, Smear Campaign, Astral Social Club, Stuckometer, Illuminati, Disco Operating System, Fibreman, The Telescopes, Horse Hair, Noise Club, Barbarians, Lanterns, The Tajalli Vortex, Cooper Jones, FTSE 100, Ashtray Navigations, Konk Pack, Gnod, Action Beat, Agripon, Poltergroom, Sannyasin, Good Noise Bad Noise, Cardboard Lung, Clutter, Janek Schaeffer, Mole, Phil Morton, Phil Lucking and Dan Weaver. Ian runs the Electronic Musik CDr label which has an equally uncompromising approach in choice of releases.  www.myspace.com/electronicmusiklabel You can download (free !!) a Fonik live set at http://www.archive.org/details/Fonik2006-10-28..mp3 Fonik are: Harry Gallimore – electronics / Ian Simpson – prepared lapsteel /  electronics / Occasional contributors Pascal Nichols – percussion (Parting the Wild Horses Mane on Both sides) / Dave Jackson – sax / reeds (Solar Fire Trio) / Tim Lyons – trumpet / electronics (The Sandells) Website www.myspace.com/fonikfonik E - Mail explode100@hotmail.com Current Releases Both Ends Burning (2005) Northern Solar Noise (2006) New Instrumental Usage (2006) Fonik (2006) Split with Ford Maddox Brown (2007) on Casual Seizures Scatter Graph (July 2007) Sounding First (January 2009) 3” ep Sounding Second (January 2009) 3” ep Resonator (July 2008) on Earth Monkey Label Nosferatu (2008) DVD with 3 selective soundtracks Fuel (2008) on Knife in the Toaster Records (with Pascal Nichols of Parting the Wild Horses) Beekeeper (2009) Electronic Musik All cdr’s are £3.00 plus postage (£1.50 in the UK) All 3” cdr’s are £2.00 plus postage (£1.50 in the UK) All are available from www.myspace.com/electronicmusiklabel  What’s been said …. Unrelenting Warrington-based champions of experimental music in the UK's most unlikely location. Faust minus the muso elements. Scraps of radio, alien tones, BBC radiophonic (pun intended?) workshop sensibility. - Golden Lab Records 2007
The diversity of instrumentation lends intself to variety, excitement, surprise, and overall interest- and entertainment-value. Improv suits small groups, in my view. But it takes more than limited numbers of personnel, of course. To a man, your attention to detail and your listening to one another, the lack of ego, makes for a real shared dynamic.  – Murmurists 2006 Creeping precise drones that bubble and crackle through your mind space like shrinking inside a switched off television with a 9volt battery taped to your tongue, on an abandoned beach somewhere in the cosmos, and realising your CB Radio is destroyed and the voices you've been hearing are starting to turn.  Outstanding bleak drones from these Warrington men. - Casual Seizures 2007 Fonik - home-made synth & guitar improvisations to make you hide behind the sofa. Warrington's finest electronic improvisers coming to exterminate your ears "like Stockhausen's worst nightmare" – Dave Jackson (Solar Fire Trio) 2007 The project from the guys who brought you Psychiatric Challenge and every event in Warrington that ever incorporated experimental music. Dark electronics mingle with a tortured guitar in blissful mayhem. Fonik have collaborated with everyone from modern composers such as AMM drummer Eddie Prevost to noise-brats such as Stuckometer drummer Pascal Nichols (who's not a brat, he's actually a dude) -  Rowf Rowf Rowf 2007 Quite unique what you do with your sound … interesting – Le Missile 2007 (Here & Now) Lock up your ring modulators, Warrington's finest radiophonic improvisers are back for more sonic attack – Freeform 2007 After hearing their performance I felt scoured – Cardboard Lung 2007 Absorb their musical score into available orifices – Velvet Nightmares Magazine 2007 An ambient accompaniment of whirrs, clicks and hums of processed sound 8/10 – Owen Hewson 2007 Everyone in Eat lights digs your sound – Eat Lights, Become Lights 2007 It’s nice to hear something like this...it makes me want to play when I listen to it..- JJ 2007
Utterly weird, freaked out and just a little unnerving!! Outside of the box is an understatement!! Perfect! Those two ep’s are seriously nerve jangling – Bad Acid 2008 Free noise drone junkies – Bad Uncle 2008 Near-impenetrability, obstreperous twists and turns, brash radio or TV interjections, and the old analogue synthesiser textures. It's a sort of concise and episodic version of the old German group Kluster or 1960's AMM – Alan Haselden 2008 Thanks for a great set and making the event special – Burst Couch 2008 Having played alongside many luminaries, inc. Nurse with wound collaborator Colin Potter, Acid Mothers Temple, Evan Parker, Parting The Wild Horses Mane on Both Sides and supporting Sun Ra's Arkestra this November, this December Fonik will be bringing their psychedelic terrorism to Birmingham – Black forest Radio 2008 We had lots of great feedback about you guys, everyone was really impressed – The Noise Upstairs 2008 Great set you did at The Kings,  I think you opened a few eyes. You’re always welcome – Ken Norbury (Kings Arms , Salford) 2009...'
Iku Turso say: '...A crackling lullaby; little ted throws his voice and loyally accompanies you to somniferous locations. He speaks with the help of three of his friends, they accompany his musings musically and bask in his modulated mellifluous tones. Although far too modest to stake a claim artistically, little ted's friends are not. They play both acoustically and electronically and cover a range of instrumentation: drums, keyboards, mixers, computers, modified electronics, electronically treated drums and samples. Their enesemblage was both greatly enjoyable and educational, afterwards following little ted's advice they all had a little sleepy :) iku turso are: a. beentjes - piezo mic, snore-box, pedals, feedback, larynx, pseudo-ceremonial keyboard and clicks / d. cunliffe - drum battalion and a bakers dozen / j. derbyshire - laptop canoodling, nord, spectacles / recorded - 14.08.09, st.helens, uk / overdubs - 28.10.09, mud-pat farm, uk / mixed by - j. derbyshire...'
Kalistongue says: '... an habitual condition / identical replicas / brake fade / undifferentiated tissue /
a beautiful blue substance / a table, a tape recorder and four chairs / escalation and mass production / retroactive utopia / a blast of trumpets...'
Lezet says: '...A sickening sight. Abundance. Heels gleaming...'
Murmurists, Pixyblink & Bryan Lewis Saunders say: '...Psycho Ecclesiasticus (a mystery shape) / Psycho Jerome (four facing) / Credits: Words and film by Anthony Donovan / Sound by Anthony Donovan and Pixyblink / Voices: Pixyblink & Bryan Lewis Saunders / Actors: Annie, Ed Coyle & Anthony Donovan 
Noise Research says: '...Noise Research is the project of UK Sound Artist / Musician Ian Simpson. Noise Research has material released on the Electronic Musik (UK), Rift Recordings (UK), Earth Monkey Productions (UK) & Bivouac (China) labels. Cdr's currently available are The Liftshaft EP ( 3" CDr ) Split with Barbarians ( 3" CDr ) Noise Research I Noise research II Noise Research III (also known as Experiment III) Rifts compilation (2 tracks) on Rift recordings Noise Research Four (on Earth Monkey Productions) Evoluon (On A.M.P.) Classwar Karaoke Survey series. Ian has been involved in the experimental / improvised music scene for many years and has performed with / alongside (amongst others). Serfs Evan Parker Graham Dunning Acid Mothers Temple Sun Ra Arkestra Eddie Prevost Faust Bark! Pram John Russell Paul Rutherford Telescopes The A band Solar Fire trio / Duo Mark Wastell Rhodri Davis Keith Rowe Colin Potter Pascal Nichols Konk Pack The Good Anna Alexander Von Schlippenbach Mick Beck Phil Marks Lol Coxhill He has adopted an uncompromising approach in both playing and performance which has led to his involvement as a performer with ‘The Frakture Big Band’ (Liverpool), ‘Gnod’ (Manchester) & ‘Fonik’ (Warrington).  He also actively organises and promotes performances in the Northwest of England including the Pyramid Experimental Music Festival and Manchester based Electronic Organica Nights. A recent comment about Noise Research Four - Such an outstanding album it really is a class piece of work – Jeff Grainger (Dandelion Radio, 2008). About Rifts – A soundtrack to while away the time to as Western civilisation inevitably continues its steadily increasing rate of decay (Heathen Harvest, 2009) Websites www.myspace.com/noiseresearch www.myspace.com/fonikfonik www.myspace.com/electronicmusiklabel...'
One Minute Wanda says: '...seemless / here there is no theme no purpose i am fearless and i am the best  here there is no one to answer to there's no redress everything is seemless everything it seems less nonetheless here there is no theme there is no purpose  i am fearless and i am the best here there is no one to answer to there's no redress everything is seemless everything it seems less nonetheless your levels are all over the place / With many thanks to My Invisible Friend / Because at least You know who You are - don't You?...'
PAS say: '...The track “Remembering the Sounds of October” was mastered from an audio installation at Goodbye Blue Monday for the Experi-MENTAL Festival 2009 in Brooklyn, NY, USA.  Below is the description of the installation. PAS (Post Abortion Stress) presents: Remembering the Sounds of October Audio Installation by: Robert L. Pepper and Amber F. Brien / Michael Durek Crooks & Nannies - (Anna Homler, Michael Delia, Al (If, Bwana) Margolis, sounds; Katherine Liberovskaya, live video) 2009 Video accompaniment by PAS (Post Abortion Stress). Several cd players play a unique aif. file in loop mode. The cd players placement enable variation in mixes depending upon the location of the listener. When seated at various locations in the room the mix is truly different every time. The loops run at different lengths randomizing the times they appear in the whole field of sound, which also enables a variety in mix. The concept is a metaphor for the millions of soundwaves randomly created everyday by cellphones and broadcasting. If someone could tune into a certain few at a time they would each provide a unique soundscape.  Soundscapes are all around us. They just need some organization and filtering. Please tune into ours. The files all were created in the month of October 20o9. The audio files provided by Crooks and Nannies were recordings from their live performance at Experimental Intermedia in October 2009. For more information go to: http://www.myspace.com/postabortionstress Email: robertlawrence@nagafilm.com...'
Ruela Pinho & Bablith Band say: '...Thou hast bedecked the sky with the robe of glittering jewels more shining than diamonds. The myriads of stars that illuminate thy sky are the glittering
eyes of thy numberless angels. The sparkling stars display thy resplendent glory with Maonghah, the Queen of Night, Ahura Mazda / The names 'Maonghah' and Mah derive from an Indo-European root that is also the origin of the English language word "moon." The Zoroastrian divinity has however no Vedic equivalent. Maonghah retains the name Mah in the 9th-12th century texts of Zoroastrian tradition, and continues with that name into New Persian. In Histories 7.3.7, Herodotus states that the moon was the tutelary divinity of the Iranian expatriates residing in Asia Minor. The Amesha Spenta (the Immortal) of the Moon, was “Posessed of Water”. On making this track I was working an album drinking from a mix of oriental and north african influences. The album was first to be named Magickal Maa, both in homage to Mah (moon, Mahur = Moonlight) and to the egyptian Maat. Gabriel (the archangel of the moon) was also the archangel speaking with Muhammad. While on the process of working this album I was asked by a woman of the most haunting beauty and deepest soul (a very moonlike person) to describe her in a song, and the way I felt her to be inside of me. This was the product, as she loves the tempest as much as me. The lyre (or its imitation) reproduces a Jewish wedding song, and the track is a travel through the roads of life, under the influence of the celestial rains blurring the world and its edges with their silent anguish and serenity / Ruela & Babalith 2009...'
Pixyblink says: '...[...]...'
Bryan Lewis Saunders & Nicole Bailey say: '...[...]...'
Sound Inhaler says: '...Sound Inhaler: context / Context is a short film. It uses original footage and found images.The imagery is relevant to the whole sound inhaler aural experience not specifically to the music accompanying the film. You can read any meaning into the film that you wish and please do, but the meaning is clear to me. However in watching the film I have made other connections between film and music that I hadn’t envisaged. A good thing I think, but occasionally disturbing. This is also a good thing come to think of it.Contact sound inhaler.soundinhaler@yahoo.co.uk www.myspace.com/soundinhaler...'
Undress Beton says: '...flying cucumbers / the psychotic truth became his pants / i was worried about these things happened lately, noticed though things were late lie / when becoming the morning fever of trust that possibilities were the happening fact / - it felt sour / arisen from breathless sleep, I understood recently, I differed from the shame on air as others had mentioned to me too / i felt a bit tired from breaking my neck on bars at speed from temper beats as they were ages old, I was supposed on date / when those creatures I was terrifying had undressed to (wait in fact, as we said: ‘we can’t always say black’) over suburb the city into the no ledge of history wearing her silk handkerchief for dinner with minutes, splashing / metaphoric sparking triangles handed him some time to spend, such as science looks and empiric thoughts were none them couldn’t tell, but read as follows: (continuation through the book which needs to be read! a release from Caballé Voltage, André Pissoir)...'
Zoologic says: '...Cat Dreams / When I was younger, I wished I was more like a cat. I thought my cat understood me. It would show me this by blinking its eyes. I'd stare into the cat's eyes for hours and the cat would blink back at me in a very understanding way. (recorded nov 2009, mud-pat farm, uk.)...'

12 DEAD HENS AT IPATIEV HOUSE

 
Adrian Beentjes & David Cunliffe
no concept - a flickering apperception. "tell me, what do you see when you look at this?". at all moments backdrafting tween, rendered and combined. a short experimental film by adrian beentjes and david cunliffe (zoologic and igors roomy lab coat)
Anthony Donovan & Jaan Patterson
we are b lurid et al, stargazers. fink you viz gaderene, and love you, meanwhile. we are here to spiral down into the dead wood of some bark utensil 911. so, feed these newshounds, urlocator. we deserve only you. decimal manet's in pripyat; a feat-gagged priest, blending. we are his as we are yours. everything else is symmetry. (Title JP / imagery AD / sounds JP & AD / text AD / actors kitten & AD / camera kitten & AD / editing kitten & AD. AD works as murmurists. JP works in many guises, amongst them is undress beton)
Autotistic
Stuff yr boohoo-ray and hi-deficiency …I’m lo-fi and this is my liquid sketchbook
Fonik
An excerpt  from TanDogs edit of the F.W. Murnau film Faust with soundtrack by FONIK to be performed in full autumn 2009. For further information see: http://www.youtube.com/user/ditheringtandog http://www.myspace.co/fonikfonik
Inferno Speedgown
YEARBOOK: This was to be a film based on a book of the same name. But since films based on books rarely work out well, I thought it would be best to just film the book. I was searching through the pages for someone's image. It was impossible to pick out her childhood face, because she has changed so much since then. The images were compelling but the onionskin dividers between pages took over. It's a very short film. So often, skin takes over
Lezet (featuring Protecious & Vojkan Nedeljkovic)
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Murmurists
A photo is a must. Please don't message without one. I have nothing more than a household. Some of you must enjoy my interest in developing that still further. Or am I in the wrong place? You should contact me asap if so. R J
Pixyblink
[...                     _ ]
Post Abortion Stress
The further you go in the bigger things become. The little things can change the world without a blink of an eye. Natures wrath sits with the touch of a pin, until the touch of the pin is yours
Ruela Pinho
DREAM FOR A DRUID. A short animation about a druid and his mysterious explorations. To put some strange story in a short 0.46 seconds sequence isn’t easy. It constantly changes, as it comes full circle. The druid movement or choreography illustrate a dialogue between him and the natural forces, in an attempt to find a mutual meaning and affinity between them, whilst at the same time emphasizing a spiritual visit into a dream, leaving the body behind. These druids are capable of abnormal movements in and out of the dream (at a very accelerated pace through solid objects), beyond the realm of possibility. The dream is an unfaltering guide. It regulates the flux and reflux of nature and the evolutionary path of the world. He must once again sleep in the earth before being reborn again and again...
Sean Reynard
Film title - HUMANMAN. Synopsis - A short film by Sean Reynard. A man tormented by his inner thoughts sits alone in his dimly lit squalid kitchen. Hungry, desperate and sweating like a rapist he stares into the dark void of his own futile existence. Sean Reynard considers himself neither Artist nor Filmmaker, he hovers menacingly somewhere in between. He moved from his home in Great Britain to Berlin in 1998, then to Sydney in 2007 and returning back home in 2009. During his time abroad he made the transition from making sound installation/sculpture and improvised music, to concentrating solely on making short films. However, his sound-related background plays an important role in his filmmaking. In fact, sometimes it is the sole inspiration, as some videos are realised with the sound or music as the starting point, and the whole idea and visualisation emerges from it. He also has a keen interest in many filmic styles and techniques, spanning music videos, TV commercials, to feature films and documentaries. His intuitive approach gives the films a raw and spontaneous feel, allowing room to explore the dynamic tension between a variety of different characters. Dark undercurrents develop out of seemingly normal situations, bringing out the absurd in everyday life. “My films tend to have a tinge of absurdity and surrealism about them, combined with the tedious normality of the everyday, and for me this fusion of the two gels beautifully together ’social surrealism’, if you like". Links to my films :- http://www.seanreynard.com
http://www.funnyordie.com/run_run_reynard http://www.youtube.com/user/raghard 
Seesar
The Seesar – Film Dialectic. 1. Seesar on Film (King Seesar and His Inspirational Personality). When I was about ten years old, I remember my father calling me into his bedroom. He wanted me to see what was on television; something that would change my personality permanently for the good. “You might get a kick out of this,” he told me and pointed to the screen. Sparkly lights and two circles with Japanese characters appeared and rumbly, orchestral music sounded as I sat down on the end of his bed to watch. I had never heard of Toho Pictures, the ethnomusicologist and composer Akira Ifukube, or even Gojiro, the atomic bomb mutated hermaphroditic lizard that spawned 39 movies, 3 cartoon series, several novels, comic books,  toys, and untold other paraphernalia, but I was about to be initiated. The crowning glory, though, would come towards the end of Godzilla vs Mechagodzilla (the American title) with appearance of the half lion, half dragon guardian of Okinawa, who emerges from his magically protected mountain hideaway to use his laser beam shooting jewelled eyes and massive strength to assist the hero of the film save the Earth (yet again) from evil and destruction. That mythical creature was King Seesar. There is much more to King Seesar than can be told here, so I will not attempt to broach the entire subject, but I will say that Seesar’s roots are proposed to be a mixture of Okinawan and Tibetan folk lore traded by Buddhist monks in the 11th century. Seesar is his name in the film, but the Okinawan’s (and other groups that adopt the character into their mythology) refer to him as Shisa (“she-sa”). He is the husband of a couple of lion-dragons who protect the land and the good folk whom  live there with their magical powers (loosely told). The Tibetan version is as filled with magic, but is less creature related as Seesar is actually Ling Gesar, or rather an avatar of him, who was the king reported to have united the Tibetan kingdoms in the 6th Century. The film version of Seesar is constructed from these tales and added to for Godzilla mythos purposes. He becomes even more powerful and steeped in magic within this cinematic setting, and watching him on film as a young child impressed me to no end. Seesar’s image, sound, and personality has influenced me for the past 35+ years. Understandably I was excited to hear about the DaiKaiJu Composition Competition taking place last year in the Florida, USA. DaiKaiJu means “giant monster” in Japanese (in this case giant rubber monster). The competition was to present a musical piece with visuals that dealt with monster movies. I thought hard for weeks and came up with what I felt was the most Japanese and monster oriented work I could conjure. I contacted my friend Abel Cohen, a very accomplished Butoh style dancer with whom I had worked while living in Honolulu, whom had studied dance in Japan for some time. Butoh is a form of movement intended to express the deepest emotions of humans, in part through reversing the commonly perceived reactions to life. For instance, ugly becomes beautiful and beauty ugly or contorted becomes the norm while natural stances seem out of place, et cetera. My idea was to have Abel express the horror and glory of returning from battle that King Seesar may have felt after teaming up with Godzilla to defeat the giant Godzilla robot doppelganger. The music was intended to be semi improvised featuring koto (in this case, a 17 stringed Japanese zither), a shakuhachi (low A and high D end blown bamboo flutes), electronics, and percussion (to be played by myself.) I had a decent chance to win, but as it turned out I did not.  No one did as they decided to cancel the competition. I am still working on the piece and I still have designs to realise the performance with Abel and two Japanese musicians, hopefully bringing them to the UK for the opening presentations. Stay tuned for that one... 2. Seesar and Film (Personal Inspirations Drawn from Film). Godzilla movies are a big influence on me musically and otherwise, but they are not the only influence. Many a low budget film and the occasional high quality art film and documentary helped shape my musical life and social activities. It started earlier than the summer of 1984, but that was definitely a summer of great film importance for me. I had gotten a job with a local video rental store near my university. The owner wanted to expand his list of titles that students may rent, so he handed me a huge box of promo tapes and said, “Watch these, then tell me which ones you think students would rent. When you get through with these, I’ll give you another box.” I was paid by the movie and there was a free pizza thrown in per week. It could not have been better! The first two movies I pulled out of the box were Raiders of Shaolin Kung Fu (starring Gordon Liu now of Kill Bill fame, then of 36th Chamber and many other Shaw Brothers films) which was rather poor given the all-star cast, and a Mexican gem about a mutant cephalopod preoccupied with a lovely lady scientist that was roaming the forests south of the Rio Grande entitled Octaman. I was so overtaken with entertainment of the low brow variety, that I immediately called three of my friends and told them to bring ice cream and soda because we were having a bad movie night! That was the beginning of me showing two bad movies every other week for nineteen years. It started off with munching on muffins and taking in a few rotten films and turned into decking out my living room with six couches in a stadium seating arrangement and a full spread of pot luck foods brought by my 20-35 guests. Some of the favourites were Troll 2, Can’t Stop the Music, Zombie ’90, Nine Demons, Black Gestapo, and El Santo versus the Witches. Of course we watched Black Devil Doll from Hell, Blackula, and Plan 9 from Outer Space, too. The list is practically endless and there is always more. Someone out there understands the joys of screening a movie that is made to be a serious, good flick, but fails miserably. Even now as I am writing this article, I’m “enjoying” the ridiculousness of YETI!, a newly made horror film with surprisingly decent acting and equally surprisingly terrible creatures and special effects. 3. Seesar in Film (Secret Acting Appearances and Anecdotes). I have not always been on the viewing only side of movies, however. A few times I have had the pleasure of being in some of these “fine” low budget goodies. My first stint was with my friends back in my early college days. I will not go into too many details there, let me just say that these short cinematic delights, written in part and starring a young, black man (so we felt we could get away with a lot of bad things), were some of the more offensive and politically incorrect things to get to video. They are safely lost in the closet of the aforementioned man, never to be revealed to the public at large, luckily for me. A few years later I was approached by my great friend and performance artist John Dawkins to be in a film he was making to show during a tour by the band Imp, an art rock group with whom my art punk band one3four traded gigs. The plot was seemingly inoffensive enough (not that offensiveness bothered me too much) and it was silly enough to hold my interest: I was to play one half of a couple obsessed with cucumbers. Do not get the wrong idea. There was no explicit sexual content in the film, although the first three-fourths of the movie does strongly suggest such. Instead, the characters prefer to eat them, rub them over each other’s faces, and build things out of them after a sensuous selecting of fruit from the grocers followed by a lustful inspection of them prior to our feasting upon them in bed. It was a great film as far as I was concerned. I got to hang out with my gorgeous friend Erica (the singer/clarinettist for Imp) and I would be projected on a big sheet behind the band for their next few shows. What I did not count on was being recognized by random people on the streets and even getting a mention in a zine for my risqué role. That wasn’t the end of it, either. When I got to Hawai..i I met another group of film makers, this time they were a little bit more like the real thing. They had professional equipment, a published writer, a special effects designer, a cinematographer, and a semi seasoned director and actors. I got a bit role as a ghost with no lines, but it was still great! I got to be scary and spooky and look extremely evil! Nice! The film made it to a German film festival and won a prize or two. When the director was interviewed (by the judges) after receiving the awards, he was asked if he was planning a sequel. He said yes (it is actually a prequel), and they asked if the scary ghost guy was going to be in it. He said he did not know and they told him, “You should make him the star! He was one of the reasons you won these awards!” I do not believe that for a second, but I did enjoy the compliment and he believed it. The director had my character written in as a major part of the prequel and I had to take a month off work for filming. I was charged to keep my beard a certain length and I was taken shopping for props and costumes that (save the fact that they were rather ruined by the end of the filming) I wanted to keep. I never did get to see the final edit of the movie, but it made it back to Germany, then Australia and a few other places, winning another award. There is a really poor trailer for it on youtube.com. It is called Limited Sight and it combines body part thieves with supernatural repercussions of dabbling in the dark arts. Guess who gets to do the dabbling? You can enjoy the preview here: http://www.youtube.com/watch?v=OIQ76Qpq7zk 4. Seesar with Film (Making Sounds for Films). My other involvement with film was in the noise making vein (as you might guess.) I remember watching a film about Ornette Coleman recording a sound track for a French film with Charnett Moffett and David Izenson. There was no time coding or electronic assistance with computers. They simply watched the film and reacted to it, improvising to the visuals. I wanted to do the same thing and I soon got my chance. The performance art group Wusspig, with whom I was playing at the time, got asked to make a soundtrack for a short film. We set up televisions in the studio in front of each musician and rolled the video. We played together like one brain thinking for all of us, reacting to the images, creating sonic responses like a school of musical fish. It was fabulous! I was hooked! Since then I have had the pleasure of repeating that exciting sound track generation experience in the studio and live more times than I can count. The most entertaining of which to date was meeting and working with film maker Robert Pepper and (his band) ‘Post Abortion Stress’ percussionist Amber Brien. After discussing it online, we booked a series of gigs presenting short films by Robert with improvised music featuring the three of us. We decided to make each one different and to do that, we invited several musicians to sit in with us. We worked with electronics artist Steve Beresford, improv rock band The Atomic Crashdown, members of Visitor Q and Render Plant, Eaten By Children, and composer Lin Zhang. Each show had a unique set of artists, each approaching the visuals with drastically different reactions. The entire tour was a fabulous series of acoustical explorations and more importantly, the forging of great friendships and musical partnerships. This summer I will be part of a similar tour with Robert and Amber, this time with the improv band Vultures, my current regular project. Vultures features two of the people I met on the previous P.A.S. tour, Matt Chilton and Anthony Donovan, as well as Dan Beattie, all of whom have become great inspirations and great friends. Vultures has undoubtedly become my favourite project to date. We have been able to explore many musical settings, including working with Indian classical musicians, contact improv dancers, and, of course, film makers. Through film and their sound tracks, my playing has evolved and improved, my compositional ideas have grown, and I not only see the sounds that I make, I hear the images I see on the screen. I have bonded with a few of the other musicians whom have experienced the exciting dialectic of music and film in a similar way. Cheers to the moving picture and the sounds that accompany it! May you all have equally as exciting and entertaining encounters with film as I have had. Will Connor aka Seesar (London, 2009)

Adrian Beentjes & David Cunliffe 'No Concept' Anthony Donovan & Jaan Patterson 'Ashes to Books' Autotistic 'F-Mix 1-1' Fonik 'Faust Excerpt' Inferno Speedgown 'Yearbook' Lezet 'Composition for Ten Hands' Murmurists 'Goya Moog For Ray Johnson' Pixyblink '-1' Post Abortion Stress 'Bitten By a Spider' Ruela Pinho 'Dream For a Druid' Sean Reynard 'Humanman' Seesar 'Limited Sound Trailers'

Open by cutting (me). Occupying; then quell, you steep, invigorated paterfamilians - of brio, of muniment; you stride into a land without restraint, dressed in silver bullets, werewolving; as indictments, to the endless palilalia, of sado sado sado. Goya made us do it; and seventeen stabs at independent information gets you this far: 

AUTOTISTIC [say/s] Recorded live, the awkward bits a reflection of the bad perspectives contained in the painting… a sickness of mind wrapped in roosting electrics. BRYAN LEWIS SAUNDERS [says] A burning bullet as it falls on deaf ears composed solely of tones from a hearing test Sears the meat of the painters mind (Headphones required unless you are blind). DAMASCUS ROAD SHOW & THESE FEATHERS HAVE PLUMES [say/s] Whilst inspired by the theme of Goya's The Third of May, this spoken word piece references the Spanish Civil War which ended 70 years ago (April 1st 1939) and the International Brigades. Let us not forget the Battle for Madrid in November 1936, when Franco's mass murdering superiorly armed hordes were halted at the gates of Madrid by an ill equipped and poorly armed population, the remaining loyal elements of the military etc and of course at the last minute the inspiring arrival of the International Brigades. Somehow the line held. The cost was very high. Although this conflict was more than a century after Goya's painting it seemed appropriate to link the two together. The scene Goya depicted was repeated again and again: some say that for every execution that the Republicans committed, Franco committed at least 20 times more. After the Republic fell perhaps as many has 140,000 Liberals, Socialists, Anarchists, Communists, Intellectuals, Teachers, Trade Unionists, Peasants, Working and Middle Class and non Political free thinking people etc. went the way of the third of May: up against a Cemetery Wall. The 3rd of May also features on the cover of Peter Marshall's visionary work, Demanding The Impossible : A history Of Anarchism. A very intelligent and inspiring written work. The accompanying photograph is from the horrifying ruins of Belchite, destroyed in the Spanish Civil War. I took the picture in 2003. It is a dreadful place; so many people died there..this place creeped me out. The remaining buildings are still clearly riddled with bullet and shell holes, look closely and you will see them. Here is a quote from the Battle of Belchite. (1) Bill Bailey, describing fighting in the town of Belchite, from David Mitchell's book, The Spanish Civil War (1982). We would knock a hole through a wall with a pickaxe, throw in a few hand-grenades, make the hole bigger, climb through into the next house, and clear it from cellar to attic. And by God we did this, hour after hour. The dead were piled in the street, almost a storey high, and burnt. The engineers kept pouring on gasoline until the remains sank down. Then they came with big trucks and swept up the ashes. The whole town stank of burning flesh. Thank you to Goya for the warning to us all: resistance is anything but futile. Believe it. They Shall Not Pass. Paul Whieldon / Words, voice, guitar - Damascus Road Show (Paul Whieldon); manipulation, smoke and mirrors - These Feathers Have Plumes (Andie Brown). FONIK [say/s] Its Fonik remixed by Bacillus (or Fonik vs Bacillus) and its called 'act of war'. The basic track was recorded live last year (2008) at a gig at Fuel in Manchester.  The sound source for bacillus was created on a pc from raw waves. GLASS EYE UNION [say/s] In the canyons the fall adler ignore the Bible; Meanwhile, atypic meaningful Coulter Steadily hits Pinsky with a dowry snore. Nearby, there's a compass cannonball factory Packed full of shaken kerosene Which abuts the boca bow network. Some time ago corruption was banefully there Even though Blade Mildew ignored The osmosis of the Dnieper; He was apparently credulous with desuetude As the result of some Australite gimmick. IGOR'S ROOMY LAB COAT [say/s] Igor Leakin-Beaker attempts an electronic audio meditation on the cumulative effect/affect of potent images, representations and symbologies. Here is his look, presented audibly, at the distillation of meaning from sensorium and the cognition evoked by the shapes, signs and pictographs of the artist. It is the role of the artist as a decrypter of personalised and ego subjective cogitations i.e. of a direct experiential representative encoding of physicalities that is the basis of the meditative piece presented. The algebra of art, the pictorial fundamentals, 0 and 1 in pigment; the manner in which Goya made us do it? A parting thought....to strip the extraneous details and reveal the pen and ink road signs of reality, confronted by truth over and over, is it possible to deny forever? JAAN PATTERSON [say/s] the manifestation painted majors created private growing and very cycle art before more recourse enjoyed subsequent his inside out as them made her expect human to true to never enough few of the intellectual estrangement also as their Goya impression has painting in of existence... THOSE made us do it canvas history as himself may be ambitious and intended to try of pictures extreme It’s people are as private like painted history as they displayed usual we & any visit public know Black enjoyed enough public well instead never modern rather as growing is a decide led to decision proof. KALISTONGUE [say/s] I haven’t got any guns......... I haven’t got any.......... because I’m so short sighted, I would probably kill all my friends! LEZET [say/s] Finca Del Sordo Menageries. Meat, Frescoes. And manolos. History is ancient. MURMURISTS & IGOR's ROOMY LAB COAT [say/s] Symbol / Sender / Please close your eyes. I'm sitting at home and it is morning. I can think of no greater affirmation of the correctness of these decisions than to say my mouth has been closed tightly for days. I have been utterly alone in this work, wearing myself out. Contact is rare at the best of times. * years without love. Death changed everything. So few understand, and I am no teacher. Such a fait accompli - one I can neither decode nor convincingly transform. I see everything in sections. Even after * years, I'm still sectioning and seeing the merit of it. All my archives - here, in this room; my love of storage, my envy of the past; the peering eyes; the sliced and pitted lids, gaping. Friends. Oh how I have loved. But no more. Now, I’m hopelessly exact but without means. My research has ended. Everything is revealing. Everything confuses. The clarities I enjoyed are no longer the lesson in humiliation they once were. I know what suits me, but my confidence is concluded / the commission was placed / placed from a state of delusional slumber / auto hypnotised / with a mental avatar of assumption / and distorted self image / the commission was delivered / a pigmented mirror / revealing the reality of my circumstances / pigment placed / revealing truth / a bare bones isness / veracity undeniable / above the actuality / of a glassine reflection / reflection refracted through / egotic prism / my artisan / of harsh neutrality / paints for me / my truth / confronted / i must awake and live / or slumber again / fare well. ONE MINUTE WANDA [say/s] GOYA-YOGA d-d- d- d-deaf to everyone, goya painted his yearning and terror for you: see over there is saturn gorging on his son making mincemeat of his shoulder what did he think of his own father? it makes you wonder... but look over here at goya's lover the gorgeous leocadia eyes and dress as dark as thunder: he couldn't destroy her so calm she stands next to the bed she looks like she's been doing yoga...  d-d- d- d-deaf to everyone, goya painted his yearning and terror for you. PAS (POST ABORTION STRESS) WITH LEONARDO CASAS [say/s] Bajo Las Estrellas Su Espiritu flota Contra la razon un mundo ignorante. PRISON FOOD SUCKS, THOMAS PETIT & COLIN JOHNCO [say/s] Classwar Karaoke 0006 survey 'Goya Made Us Do it' / GOYA-FUZZ / 5:43 / Thomas Petit: guitar / Prison Food Sucks: laptop, synth, machines / Colin Johnco: feedback, overdub, drone / Artwork: François Brunet / www.bellesillustrations.com / PFS quitte sa ville natale pour regagner Pissjatjjjick, un port de plaisance. Y rencontre Colin Johnco, rital du Colorado, dans un stage de judo. Découvre le plaisir de la chaire cablée et des expandeurs inopérants... Ce n’était guère la communication qui les intéressaient, mais plutôt de fouler des pieds les êtres les plus bas. Ton effet bœuf sur moi tout à l’heure Les fusillades Crier  tragiquement de plaisir Tout de suite Action escalope Tais-toi sac à main Elle a du ChienChantal Révolution / http://colinjohncorecords.free.fr / http://www.myspace.com/prisonfoodsuckscolinjohnco. SEESAR & SONIC PLEASURES [say/s] Goya Made Me Do It. It was no wonder that artist and art historian Anthony Donovan (whom we all know and love as Murmurists) asked contributors of CK0006 to comment upon Goya as their focus of discussion. Being a visual person in general, an artist myself in some rights, and generally influenced by the works and lives of many creative artists myself, I have taken this request in a broader sense: I have decided to talk about the influence of art movements upon music, and in particular, the ways in which Italian Futurism has fuelled my improvising since I began performing over thirty years ago, whether I realized it or not. When I first started improvising, I was also attending university studying physics and acoustics hoping to become an instrument builder. I had access to lots of wood and metal working equipment allowing me to build this and that. I was also surrounded by clever and like-minded individuals that constantly encouraged me to experiment. The only way to learn certain building techniques, however, was to get involved in art classes in which the skills to use the equipment were taught. I jumped in on woodworking and metal sculpture courses and had to come up with ways to alter assignments from visual art only to sound oriented art as well. Exposure to art, art history, and its relation to sound generation was unavoidable. The more I learned about artists and the ways in which they interacted with other creative forces, the more I became obsessed with building instruments, both for sight and sonic attributes. I built a bamboo xylophone suspended in a giant web that surrounded the player. I welded together a giant lump of random metal, where almost all of the protruding parts made nice tones when either struck or bowed. (One such sculpture was so large, that I was asked to dismantle it by the university because no one could move it and one professor who had attempted to do so got injured. Oops.) It was the professor of my metal sculpture class whom first told me about Luigi Russolo. I had never heard of Futurism and I have no idea that anyone had tried to build strange, non-equally tempered tuned instruments previously. Harry Partch? Never heard of him. Experimental Musical Instrument Quarterly? Not seen a single page. I had not even realized that most folk instruments were hand built and not tuned to a western classical piano. Of course, I was not the first, nor was even Russolo, but my being unaware of this did not make it any less important or influential. Russolo’s work preceded me and influenced many others before his work became of great interest to me. What’s so important to me about Luigi Russolo? Not only did his investigation into constructing new musical instruments and his desire to include (at the time) new sounds associated with modernism excite me to the point of becoming a huge fan of his, but also his background and his involvement in the artist movement he supported, and in turn, supported him. That movement was Futurism. There is a ton of material out there on Futurism so I am not going to take up article space to discuss it. I do suggest finding out all about it! Some of it is the most fantastic, creative art out there! Not, all, though. Some of it, in fact a lot of it, does nothing for me. It is not the art itself with which I am concerned here, but rather the art movement and the inter play between the creative figures. Russolo was an artist primarily. He painted and sketched mostly and his work evolved over time through his own experimentation and his philosophical discussions with his peers.  He was a violin player, mostly because his father insisted that he learn to perform some music. The rest of his family were accomplished musicians, his father a pianist, his brother a composer, his mother a singer. Russolo, though, was a visual artist primarily. He painted still-lifes and depicted typical subject matter for artists of the time. That was until he read the Futurist Manifesto published by his colleague, Marinetti. The call for artists to include modern elements and basically destroy or ignore older forms of art transformed Russolo and he began to paint with these things in mind. His art became some of the first to represent movement in Italian art at the turn of the century and still remains important to this day.  However, he did not stop there. He saw, or perhaps I should say heard, modernism as being ignored in music as well as art and he called for artists and musicians to begin to include new sounds in composition. He wondered why certain daily heard sounds were excluded from timbres used in orchestras. He surmised that one reason was that there were no instruments that were able to create the newer sounds of life with motor cars, radios, and electric devices.  Russolo (with his assistant Ugo Piati) began to build a series of instruments that would fill those gaps which he called Intonarumori or noise makers. I trust the basic inspiration for me in terms of Russolo’s work is obvious. Making instruments and departing from standard concepts of what is an acceptable and beautiful timbre is a model attitude without an end to its value! There are many subtleties, as well, such Russolo’s instruments were built as “black boxes”, meaning a player would not have any idea what sound was to come from the instrument until it was played, forcing the musician to perform accordingly, including improvising in reaction to discovering the timbre produced. In addition, he worked with, took inspiration from, and contributed to other artists works. Poets used his sounds as subject matter. Composers not only wrote for his instruments, but used his art work for the cover of publishing such works. His devices were not only sonic achievements, but also interesting upon which to gaze during performances or in a gallery setting. I find this inter-involvement extremely romantic and it is this self-perceived romanticism I hold dear: Concepts of the interaction between the visual and sonic artists; the mutual support they give each other; the making and breaking of rules, et cetera. I take this mentality with me to every performance and each instrument I construct has an element of this romanticism for me. Working with fabulous artists, musical and visual, provides exciting possibilities and feeds my desires to create! Being able to collaborate with intensely creative artisans, such as Hugh Meade (furniture builder), Rebecca Cloudy (opera singer, designer), Sean Johnson (dj, sketch artist), Gera Yepez (stencil and graffiti artist), Dantzler Albergotti (poet), Robert Pepper (film maker), Staffan Pearson (absurdist theatre playwright), M.A. Richard (actor, director), John Dawkins (performance artist), Abel Cohen (butoh dancer), and Matt Routh and Stef Maus (costume and rubber monster suit designers), have been equally as influential as working with the superb musicians (Vultures and Sonic Pleasures being grand examples) with whom I work regularly. My small call to action for musicians, then, would be to look beyond the aural elements of music for inspiration and expand your influences to include non-musical creative forces. Hyman Bloom, Lovecraft, Buckminster Fuller, Inoshira Honda, Goya, or even your next door neighbour and their thrown-together garden sculpture can provide emotive and powerful insights into your own work, and therefore inspire and influence yet another other artist in turn, contributing positively to the ebb and flow of constantly changing and growing creative works that shape and enhance all our lives! (it sounds a little hokey, but it’s true!) Thanks for reading! Will Connor aka Seesar, London, 2009. TESTPHASEN NEGATIV [say/s] Testphasen negativ – Gegenschmerz / Written & produced by Ralf Rabendorn / Recorded & mastered at CMP-Studio, March/April 2009 / Testphasen negativ = Ralf Rabendorn and  “The Choir of the Last Flame” / Instruments: Electric guitars & voices / Sound manipulations by R. Rabendorn / Genre: MEDUSADA / URL’s: www.MySpace.com/TestphasenNegativ http://testphasen.serpenehelimusic.com/ www.Rabendorn.de www.MySpace.com/RalfRabendorn www.ContraMusikProduktion.de www.MySpace.com/ContraMusikProduktion / Included photography taken by Ralf Rabendorn / Salute: Anthony and Classwar Karaoke, Susan C. & my people at ContraMusikProduktion (CMP) / Available “Testphasen negativ” albums: “How I Won the War (Wie ich den Krieg gewann)” (2008, January) (Label: Sérpéné Héli Music (Cyprus/UK)) “Burn, Giant, Burn!” (2009, April) (Label: ContraMusikProduktion (Germany)) / What's next?: “Daemonium”, collaboration mini concept album with Iri Li (www.MySpace.com/IriLiArt) (coming  summer 2009 on GiN Label (China)). VULTURES [say/s] Vultures are Dan Beattie: guitar & electronics; Matt Chilton: laptop, Mics & objects; Will Connor: percussion, objects & whistles; Anthony Donovan: prepared zither, electronics, objects & laptop. Recorded at The Old Shop, Luton, 18th April 2009. ZOOLOGIC [say/s] angels, devils and the naked aggressor... all good good friends of mine flash - flash - flashing (my minds-eye stroboscope) all the while my heart folded inside out, crumpled and exposed. some wear it on their sleeve, mine is dangling, hooked into the corner of my quivering grimice. i spy'd it all, from the echo, as satellite. all the anti-synonyms and their retinue moved in. i had no choice.

Download and play 0006 survey by going here

On Wednesday 18th February 2009, at WA1, Warrington, UK, six acts associated with classwar karaoke gathered for a kind of showcase-gig-cum-AGM. It was, by all accounts - my own included - a wonderful, special occasion. Thankfully, the event was recorded - well, too, by EVs, from Comfy Rubbish; and it seemed fitting to break with tradition and dub this ck iteration as 0005 survey; with the idea that, by hook or by crook, the recording itself is made available at some point, as an album.

I've no intention of attempting to formally review the gig itself, but I wanted here to offer some kind of a personal description and explanation of what I personally saw, however brief.

I'll get to that in a little while. But first ...

ck will be a year old next month. So, let's reflect a little ... There are a number of ways it could go, as a project.  

When I first mooted the idea of this modest but artistically-ambitious venture - classwar karaoke itself, that is - I did envisage gigs and physical releases, as well as building a meaningful on-line presence; and all without the top-down hideousness of much of the mainstream independent scene; which, in being so, merely apes the logic of actual record companies. So, it was great to realise one of those goals, and in such fine style, too. I worked hard to put together something artistically interesting, that was laid-back for all, but which looked and felt professional, and which respected any potential audience's own efforts to take a chance and spend an evening watching what we all made; whilst, at the same time, being doggedly inclusive for those involved. I was personally clear and still am that ck must be different in respect of its politics, its ideology; and the gig was as open and non-heirarchical as the rest of ck's operations.

I have an ideal classwar karaoke in mind - one built upon the idea of inclusivity, openness, and nonheirachy; where everyone involved is actively-involved, as equal contributors. It's just as important as the music to me; and I seek to develop both in tandem, come what may. It is on that joint basis that I seek out new acts for ck. Nothing less is interesting to me. There are a million-zillion netlabels out there, floating around in cyberspace; and its a scene I love and respect. For my own part, and as a personal motivation for adding to that glamour, I'm putting effort into ck with the idea that it can offer something a little different from that vast majority, in being an unambiguous meritocracy.

So, as an experiment, I say I have no intention to lead from the front. In part, then, this tract is a call to those who are genuinely interested in putting the effort in to making more things like last Wednesday happen. I know things only happen because people put the time in to make them happen; so, this is an invitation to join me in that activity ... Let's do stuff; let's build something.

Any takers?

Anyway, here's how I saw the gig, in order of play ...

ZOOLOGIC
Ad was a star before the gig even took place; in offering accommodation to Colin and Arnaud, of Dr(Dr)One, coming over from Paris, France. Accommodation was about the one thing I could not offer myself; since I was also visiting the North West, staying in a hotel. Ad added to this kindness by providing transport for Colin and Arnaud, for an early flight back. A huge thanks once again, Ad. You and your family have an open invite here. Performance-wise, Ad had about the only technical hitch of the evening - as his Nord keyboard refused to work at first. He opened the show in fine style, nonetheless, I think - on laptop, electronics and guitar; creating dense masses of tonal chords and noise.
FONIK
Ian from Fonik couldn't make the gig; so it was left to Harry alone to represent the band - his first time solo, he told me. Harry had kindly provided film-projecting equipment, PA, and arranged a sound engineer. Grateful thanks. Harry improvised on homemade electronics to a film he had prepared. The sound was sparse and sensitive to my ears; spoiled only by over-loud chatting from a tiny few in the audience.
IGOR'S ROOMY LAB COAT & FRIENDS
Ad made a second appearance, as one friend to Igor - or Dave, as we all know him; the other friend being Noel. This was essentially a power trio - in comprising of drums, bass and guitar/keys/laptop, and for its rockist muscularity, with psychadelic overtones. The more abstract passages were my personal favourites.
FAMILIARS
This was myself and Neil. We met for the first time earlier that day. I'd made a film for the gig; parts of which featured sound - more exactly, the piece we'd made for 0004 survey, divided in two. The idea was that these would crash in, in-synch with more figurative parts of the visuals. This only partly worked, in the event. But our prepared guitars, objects and electronics worked well anyway. More please, Neil, if you fancy it ...
DR(DR)ONE
It was amazing to me that Colin and Arnaud made the journey from Paris to play. Colin was one of the first people I ever got to know via myspace, and it was truly great to meet him. Arnaud is a wonderful, musical drummer; and I am a huge fan of this band. Their combination of acoustic drum-kit and Colin's electronics creates an understated beauty, full of interest.
COMFY RUBBISH
I've known all three - Roj, Jack & Evs - since the late-1980s. I was delighted when they got together as a band in, was it?, 2003. All and sundry from our hometown of St. Helens have, I know, mithered the band to play live. So I was chuffed to provide their first ever gig. There was a nervous buzz about Roj and Evs - their first ever gig. (Jack is an old hand - he, Dave, and I, and others, played in a band, Gnarl, 1989-1991.) Roj and Evs played guitars - with Roj at one point exploding into a Zappa-esque solo; and Evs offereing a more angular, metal-tinged passage, some with e-bow, seemingly processed via laptop. Jack handled keys, beats and samples. They had a lot of fun; and it was a perfect end to the evening. Evs gave a lift to me, my partner, Annie, and her son, Matt - big thanks. It was great to chat on the way to Manchester.

Best wishes,

Anthony

NB. 0005 survey not currently available to play or to download.                  

dementia, s/he mishears, mispenetrates, rubs, erases... erases rauschenberg erasing de kooning; as rudderless mercations along a contour of borges; as bedroom eyes from some platonic cave. palimpsest, s/he k-popper, s/he m-ernst, rubs, erases yamasaki yamasaki, k-boom k-boom. knowledge... history... fumes... pyres... simulacra. here are 14 maps from memory ... A Quiet Monday. Jean Montag wears an organic, transparent and emotive jacket in A quiet monday that makes him feel free to achieve his experimental work. Autotistic. Sometimes tunes creep out of the noise bleed unexpectedly, these make me smile. Bryan Lewis Saunders. THE MEANING OF LIFE / Look at the Earth / And it's relationship to the Universe / And it appears as nothing more / Than a used unplugged refrigerator / With a closed door / A warm, damp, isolated environment / Ripe for the growth of disparate spores / We, are the Kudzu of the animal kingdom / The M.R.S.A /  MERSA / (Methicillin Resistant Staphylococcus Aureus) / Of backboned organisms / A weed / An incurable disease / A triviality / An anomaly / A fluke. / And because we are alive, living and a part of life / It is arrogant, egocentric, and biased / To believe that life is important, / Of course life is going to cherish and embrace itself / It's in the very nature of nature to flourish, / But 99.9999999 repeated forever percent / Of the entire Universe is lethally hostile towards it / Much less supportive of it. / This makes life special / But it doesn't make it good, sacred or even precious / Just insignificant at best. / Life, / If nothing outside of it / Besides itself / Desires it / Does it even have true value ? / We are self aware / But ignorant of our origin / Searching desperately for missing links / And filling in the blanks with fiction, / Constantly questioning the obvious / Oblivious to our own ignorance / Once we see we come from scum / We deny it and return to faith, / I have little respect for hardly anyone / We are weak and stupid, useless, human refuse, moldy waste. / Put here, solely by luck, / and the simple fact that - / IT FEELS REALLY GREAT WHEN WE FUCK. Comfy Rubbish: We've started so we'll finish. Dr(Dr)One: "Toute cette vie n'est qu'une foutue conciergerie sans âme ni fortune. Frottage automatique et particules sonores engluées dans le larsen. Une sorte de foutoire à gravas d'ou l'on sort le coeur vif. Un soir large comme une encolure. Mystérieux et manuscrit. Une idée noire. Démence et trous de mémoire." Contient un sample tiré de "Don't change your mind" de UM "Apes & Cow-boys" Contain a sample from the track "Don't change your mind" UM (album "Apes and cow-boys") http://www.myspace.com/doctordrone http://colinjohncorecords.free.fr Familiars: Collaboration between Neil Packer (An L After I, An N Before E) and Anthony Donovan (murmurists). Fonik: The origins of Fonik date back to 1999 when both members worked in the Psychiatric Challenge Collective finally splitting to form the duo in 2005. Working essentially with free improvisation / experimental noise (using prepared guitars and electronics) Fonik have an uncompromising approach, blurring the boundary between music, noise and art. Performances are generally the ‘core two’ but occasionally an impromptu trio or quartet happens depending on situation / availability of the ‘occasional contributors’ listed below. The duo’s background is varied coming from jazz, avant garde, post rock, industrial and new music. Material recorded is occasionally reworked with various sound editing techniques bringing a completely new angle to the sound. It’s kind of a combination of traditional improvisation techniques combined with diy technology. Reworks can be done in real-time, this becoming an improvisation in itself, with parameters being tweaked as and when required. Otherwise traditional tape editing / musique concrete techniques are employed but using digital software. Igor’s Roomy Lab Coat: Musings from Dieckman Von Spasmid of 'igor's roomy lab coat' upon the concepts and items of frottage and palimpsest; recently introduced to him and arousing his interest and curiosity. Produced in collaboration with 'murmurists' with much pleasure and gratitude for both the help and experience :) "To clarify my own position.....I abandon myself to the flow and process of my entropic and fluxional experience.......the present.......by popular consensus......reality!" Chosen with admiration,affection and regard and presented with best wishes to you, two quotes found invaluably inspiring by Dieckman and the labcoat crew: 1. 'A man can't have everything......where would he put it?' - Spike Milligan 2. 'If they give you ruled paper, write the other way' - Juan Ramon Jimenez. Inferno Speedgown: Dyslexia is biodance, not anxiety, in Chinatown.  Pixyblink: Where are you, love? / it's so cold / i'm shaking / lost without you / this desert expanse / so barren / the night chill drags on / i miss the warmth of the fire / i miss you / i require your embrace / your shelter / how did i stray so far? / i lost the flicker of the fire / there's no guide / no beacon / to bring me back to safety / i don't know where i am / i don't know what direction i'm facing / how long can the night go on? / lover / lover / i hope you find me soon. Post Abortion Stress: The thing about erasure is the fact of the initiation. What would you fill “yourself” with if you had lost your core? The “heat” of your brain melts away. Drips form a shell of your body and your mind lifts into the air. Potential pop culture energy waits patiently to infect your base mind with numb thoughts. It’s up to you to enrich it with life and meaning. A blank book waiting to be coloured by lifefull strokes of enlightenment. Soundwaves: First the high end rips away your childhood. The midtones, destroy your ethics and the bass shakes the rest into a low field of calm sea. A “0” on the Wav scale. A liquid of pure opaque water, a tone of ever generating connection to the familiar people around you in the vast chain of energy, construct your follicle of life. Drown yourself after being purified. Drown yourself with light. The pure light of happiness awaits you on a palimpsest in the vast realm of eternity. Forever changing and forever washing away it morphs into a new life every cycle. Seesar: Seesar began his musical attack on the Universe in 1978 when he obtained his first pair of drums sticks and promptly began beating on various things and generating sonic waves. Since then, Seesar has performed in numerous projects, recorded untold documentations of musical madness, and delved into multiple worlds of rhythmic and timbrel texture creation. Many of Seesar's instruments are either homemade or gathered from various trips around the world. His main instrument is percussion, such as trap set, Nal Dholaka, Tabla, and various Sulawesi and Chinese percussion instruments, but he has also been know to play Shakuhachi, Dramyen (Tibetan lute), Cumbus, mandolin, piano sound boards, recorder, transverse flute, trumpet, mellophone, tuba, euphonium, broken guitar amps, veena, and a multitude of small and found noise-making devices. Vultures: Recorded, live and improvised, on 31st January 2009, at Tower Studios, Stoke Newington, London, UK, by Scott Robinson. On this occasion, Vultures were Dan Beattie - Guitar, electronics, piano; Matt Chilton - Laptop, bass, electronics, contact mics;  Will Connor - Percussion, objects, cumbus, piano, recorders; Anthony Donovan -: Bass, autoharp, electronics, contact mics, objects, dictaphone, voice, whistle; Scott Robinson: Piano, samples. Zoologic: Misadventures in a lost something...


Download and play 0004 survey by going here

The theme of 0003 is 'burlesque..regress'- proposed, originally as cabaret, by One Minute Wanda, and morphed, by-the-by, Chinese whispers-fashion, over subsequent email exchanges, to-and-fro, to-and-fro, by a.n.others. Circuitous as we are, then, here are your sharpened sticks, please ….   

An L After I, An N Before E: The recording presented here is an excerpt from a protracted series of séances, conducted using a Watkins Rapier 22 as a ouija board, in which the spirit of long deceased theatrical star Lydia Thompson was invoked. Surrounded by incense burners, candles and coptic jars containing her freshly disinterred remains, a violent stimulation of the patented 'Hi Lo"  vibrato was observed, coupled almost immediately with the initially imperceptible vibration of several small pieces of bone (believed to originally have belonged to the late Jimmy Rodgers) placed along the guitar neck , which soon developed to a frenzy of activity. After the action had been concluded, it was discovered that a Cole Porter songbook had been dislodged from it's place on the shelf. Closer inspection found the title of this current recording, written in a mirrored fashion, scrawled across the  opening page of 'Begin the Beguine' in vermilion crayon, and lightly dusted with cerise glitter. No adequate explanation for this phenomena has yet been posited

Bryan Lewis Saunders (*music by murmurists): The term "Fifth column" was coined in 1936 during a radio address by Emilio Mola, a nationalist general in the Spanish Civil War.  As Mola's army approached the capital, he broadcasted a message that the four columns of his forces outside the city would be supported by a "fifth column" of supporters inside the city, bent on undoing the government from within. "Dispatches From The Fifth Column": (Bryan sings… 'THE POTENTIAL FOR DANGER IS EVEN GREATER SINCE OUR LAST ADVISORY (FROM THE THEATRE OF WAR): Our society is the Humans, but no society is the society here, and it's not humane, nor the humane society. The Black Squirrel.  Any number of variant dirt squirrels.  Anti-Squirrels.  Mean little devils.  I learned the fundamentals of politics and disrespect from them. So pay attention. RED BULL IS NOT CARTOONS RED BULL IS NOT CARTOONS TV dinners taking reality, or taking TV and making it seem like reality, and taking reality and making it seem like TV while eating TV dinners new. New everything. Even the hidden dangers are new. A revolutionary female castration figure.  Alive and living in Amsterdam, is planning attacks, more powerful than 9/11. So ask your doctor if you're healthy enough to engage in sexual acts. If you are staring someone down and then look away first, you can have a picture of them, and you can stare at the picture and not get involved in a confrontation, and then you have the memory of not backing down by looking away.  But if you have the picture of backing down and looking away already, you can delete that, and have no memory of that. YOU CAN EDIT YOUR LIFE YOU CAN EDIT YOUR LIFE Identical Siamese twins laying in bed.  Attached at the hip, shoulder and head, wake up each morning with identical boners.  Sold for 10 Million dollars at the Sotheby's auction. "Siamese Twins with Boners" sculptures, while John Deere's making liquor for all of the drunk people who've lost their farms. At the school shooting press conference, a disgruntled family member of one of the student victims, shot the mayor, police chief, news media and school officials. Live on Rampage TV.  And the people in the streets are asking questions. You can't blame them. IT'S POLLINATION THROUGH DEFECATION IT'S POLLINATION THROUGH DEFECATION We won't walk around in public with a scabby face, but we go out in public with scabby behaviors every day, and still don't have any "action makeup". Either sell drugs or break the law to get out of debt. I'ld rather be a narc than be dead. WALMART spelled backwards is TRAMLAW. (Railroaded with frivolous law suits, how appropriate can it get...) FEAR THE VIOLENT DEATH FEAR THE VIOLENT DEATH In Abu Dabi they cut someone's head off real quick then said to the head, "Blink twice if you can understand me."  And it blinked twice for a long time it was crazy.  Trying to explain brain damage to someone whose brain damage was worse.  I wasted all day explaining myself to the head in Abu Dabi, but I did manage to learn one thing: NO MATTER WHAT IF ANYONE STEALS ANYTHING FROM US WE WIN WE DON'T NEED ANY OF THIS SHIT WE JUST NEED TO LIVE Since the beginning of time, the longer everything goes on the more complex it gets.  Now the people demand for it all to be simplified. Friday the 13th - part 80 (Jason vs. Egyptology) The main thing is to save the capital of the city. A blueprint of the church shared by Christians and Muslims, now has different colored arrows pointing everywhere all over it. Lines proposed, the war plan exposed, they're baring their flanks to the masses, and the United States, has whole pockets full of these contaminated asses, and unless you step back and see it for what it is, THE MOON WILL NEVER CHANGE THE MOON WILL NEVER CHANGE Assassination attempts on illegal immigrants. Torn between wanting to protect myself or let somebody else try to hurt the President. A prize fighter, got punched too many times in the head and became a Pulitzer Prize writer.  His stutter would not allow him to be a motivational speaker, which was his dream. "Ding !"  And the bell means, "Start killing each other." What we should have done was flood the scene, instead of engaging in each confrontation separately. Now a single person is dead and things are much more serious. Drivers' Digest says, "Driving muscle cars, really does put more hair on your chest!"  They've got the scientific study for the centerfold to prove it. The public restrooms are so clean, that no one goes out in public anymore unless they have to use them. Young teenage girls shit soft turds with newspaper articles in them. And Anna Nicole Smith, aka Vickie Lynn's dead son Daniel, was the "real" father of their baby daughter "DANNIELYNN" The SD-RAM of time slices.  Drugs are half off.  And Korea just separated from the mainland. THE PARTY I BELONG TO IS NOT HERE THE PARTY I BELONG TO IS NOT HERE HEADMOLT HEADMOLT JUCHE IDEA JUCHE IDEA Human trafficking party fines.  Adult highways.  Back and forth across State lines and leading the parade were synchronized police sirens. One guy went hysterical and just couldn't handle the violence and threw himself in front of a truck. All new laws exponentially increase crime. His company encouraged mass suicide. Ancient caves, the Mayans shamed residing in the Aztec public restrooms. And I can't talk about what happened to me, in there.  It's just too personal. I made three false representations of the world around me, and made the lies overlap counter-clockwise to the left and it became a real great place to live, until everyone found out that it didn't even exist. So I got a second job trying NOT to kill people, looking for more clues and trying to make sense. You had to wait in line and lie, and pretend that you're something you're not, just to get the job. I'm living one life, impersonating another, to find out who are people's real friends, and who are not.  And I don't know who these people really are, "9 Inches" They say they're the organization that measures everything for free, then donates these measurements to the people involved in marketing and advertising. Afraid they will ethnic cleanse me, because I fit right in and blend in with everybody. An income jerk at work says I remind him a lot of China, because I'm forced to work so hard and so cheap. MOO GOO GAI PUKE MOO GOO GAI PUKE He's a pussy. When he hears bombs he has seizures. When the boss hears bombs, she strikes her Mother. Along with the bedwetting and standard aggression, THE VIOLENCE HAS BECOME INFECTIOUS THE VIOLENCE HAS BECOME INFECTIOUS Like the backbone spine of a snake. It goes from one attack to a counter attack to another attack along the serpents back.  Twisting, writhing and contorting. From the next, to the next, to the next -TO THE NECKS ! Inside a house. Food hidden in storage. Secret passages.  Trains and bus schedules.  Paying lots of attention to them. The guidance systems are now hiding systems, so pretend to be SPAM. And donate clothes to killers, for the "Clothes for Killers" program, but getting them to try on shirts and pants, is like pulling teeth. But we need their support to combat the New Enemy. Just keep telling them, THE NEW ENEMY ARE ONLY TOYS AND TOYS DON'T DIE THEY JUST GET BROKEN (Now log in to the sliding time scale of your life, and put the following on repeat.) KILLING PEOPLE HURTING PEOPLE HURTING PEOPLE STABBING PEOPLE KILLING PEOPLE SHOOTING PEOPLE CUTTING PEOPLE UP CHOPPING PEOPLE UP HURTING PEOPLE CANING PEOPLE KILLING PEOPLE MAIMING PEOPLE BLOWING PEOPLE UP WE'RE STILL BLOWING PEOPLE UP!'

Comfy Rubbish: smells healthier than sounds tastes fresh sweet initially but odious twang of death lurking back of tongue aftertaste or is it smell? a synaesthesic combination of smell come taste come sound with hint of green come . . .  :oD something dressed up as something else or hybrid? travesty a parody of itself a lie  :o/ a laugh :oD

Ice Bird Spiral: lighting the forest fires in shiny vinyl tongues and broken birds.

Igor's Roomy Lab Coat (and friends): A piece resulting from a jam by Stix and friends, forwarded to Dieckman Von Spasmid for post production and development. Alas, or under specific and resonant conditions fortunately, Dieckman experienced a recurring bout of 'melancholic consumption' and the ensuing results are presented for your perusal. Due to the rather subjective and highly individual basis of sensorium and cognitive processing of such, we disclaim any true knowledge of Dieckman's position regarding his statements and indeed his conscious recollection of making them. It is unclear if these are statements reflecting a species of morbid humour, a philosophical sketch, an affectation or a somewhat unintentional (presumed) revealing of entrenched character traits. Very possibly the piece is a result of all, any or none of the preceding. The friends providing both a great time and their very valuable contributions were: a.beentjes  - Keyboards and guitar a go-go; Noel Kidd   - Bassman growls and wonderful see saw line; David Hills - Drummer extraordinaire and the very finest trombone impressionist this correspondent has ever had the fortune to see. Respect to all and many thanks :)

Inferno Speedgown: With love, and apologies, especially for the drummer

Lezet:


murmurists: Here, we extract from Beneath is Translation; and offer an inchscape in voices, human voices, each a character. These voices are, in order of appearance, Bryan Lewis Saunders, Jo Pearson (One Minute Wanda), and Michael; with all other sounds, composition & the words themselves by Anthony Donovan. (The words you hear said are as follows: (Breathing Steven): '...My love, she approaches, grounded in Plato, grubbing for her Heideggerian reject. I quiver subjectivism, dabbing my fingers into your wounds. All is liturgical, my love. But I seek to simplify on your behalf, as agreed. Yet, every vague notion progresses toward one interpretive method or another, in endless rounds of understanding mediated by unstoppable, autonomous addition. I think my employment should be more orthodox. I do know that I crave to more accessible to your particular style...'. / (slavejaynie): '...i sweat, Characterful boundlessness; oh, abstract into folds of but but but... Digging, i add, my trope is counter-particular; neither analogue nor homologue but duologue. All of this i say despite myself, convinced of the limitation of constancy itself. i am both for and against agreed norms, [sic] inside. Still sweating, i rub, hell of congruence - all constructs, nominations and identities, mediate your petitions in me. And what of principles? Might we magnify social accord itself, perhaps into a list of easy penetrations? All i know is that i am preternatural and obligated...'. / (Ornette (42) Mids willing to relocate): '...Loosen, or else, under threat, pre-curse the following, as ponyplay, you slummocker…Poor cruel pax and its animal governments. Seldom I feel you convincingly increate. You connive promise, okay; and I, in turn, lovingly anticipate on that basis. We are quits. Stop claiming otherwise. Yes, yes; the ingredients of our factioneering are all about facticity, girl. But, it is settled. Curb your manifesto, please. No event properly honours my inattention. I sent you a love letter, not a final demand. No matter what I say, though, I know you will carry on updating. I've never felt less mundane, less domestic. I am photographed. I get to be a trick of the light. The house is air-conditioned; and there is television all day. I grow things within words and sustain a kind of probability in so doing. Sometimes, I blacken things which are essential to me, just to emphasise the whites from my eyes. Like you, I live alone in certain situations; and because of that, I don't often appear special. I was introduced to physical expression by a long-term friend. But since then, I have been compelled never to seek out such extremes. Sorry for any perceived delay. You know who you are...'.)

Noise Research: Noise Research is the project of UK Sound Artist / Musician Ian Simpson. Noise Research has material released on the Electronic Musik (UK), Rift Recordings (UK) & Bivouac (China) labels. Cdr's currently available are The Liftshaft EP ( 3" CDr ); Split with Barbarians ( 3" CDr ); Noise Research I; Noise research II; Noise Research III (also known as Experiment III);Rifts compilation (2 tracks) on Rift recordings Ian has been involved in the experimental / improvised music scene for many years and has performed with / alongside (amongst others).  Serfs Evan Parker Acid Mothers Temple Eddie Prevost Bark! John Russell Paul Rutherford Telescopes The A band Solar Fire trio / Duo Mark Wastell Rhodri Davis Keith Rowe Colin Potter Pascal Nichols Konk Pack The Good Anna Alexander Von Schlippenbach Mick Beck Phil Marks Lol Coxhill. He has adopted an uncompromising approach in both playing and performance which has led to his involvement as a performer with 'The Frakture Big Band' (Liverpool), 'Gnod' (Manchester) & 'Fonik' (Warrington).  He also actively organises and promotes performances in the Northwest of England including the Pyramid Experimental Music Festival (now in its 5th year). Websites www.myspace.com/noiseresearch www.myspace.com/fonikfonik www.myspace.com/electronicmusiklabel

One Minute Wanda: it's just a game we both play you play your cards you run away you think you broke my heart but you know you're not so smart i just gave you a head start but i won't need to go very far and i've a joker in pack cos i know for fact this is one way track and you're no needle in a haystack you'll never learn you're just a little bit stupid in the ways of cupid so i'm just going to sit here and take my time and have a glass of wine and while you think you're my ex i'll send you a few texts to tell you what happens next it's that before too long before the end of this song you'll be running i can already see you coming RIGHT BACK

Prometheus (Unbound): Welcome, Ladies and Gentlemen of the jury. Welcome to the Magic Theatre! Home of the Bizarre. The usual crowds passed through; Gogh and Lautrec were at their usual heated selves, with the haze of the green menace fuelling the their conversation in a cloud of pipe smoke, which helped with the ambience of the seedy lamplight atmosphere. As the night crept on, faces melted into one another from the mix of absinthe and laudanum. Baudelaire, Rossetti and Poe were trading tincture for tall, twisted, tripping tales on the top table opposite. Too many poppy teas? Certainly one too many for Lizzy Siddal, Dante was distraught. Girls waited on tables for tips. Tables occupied by groups of men or men with their mistresses, tucked away in dark corners. Not many wives at the Magic Theatre, lots of daughters though. (Someone's daughters?) Finally the opiate would level out, the nausea lifted, leaving one feeling as though wrapped in the weft and weave of a warm woollen blanket. Then the Green Faeries would creep up and cast their spell. As one sense dulled another was heightened. Colour and sound would intensify. Black became rich as pitch, red bright as fire. Degas, Gaugan, Jarry, Manet, Poe, Wilde, they all shared this place at one time or another. The smell, the noise. The noise became a cacophony of shifting sounds, almost impossible to focus. The lights dimmed, the stage would come to life, music would fill the room. Next a rush and blur of black lace and red satin would snap you back into the room, finally something to focus on. This is where the night would begin… Bring on the Dancing Girls!.. To be continued …

rev. undRess beton: rotating umbrella is the hot love rest drying my wet eyes in soggin' times, hairless model as youdo makeup,- call gunfest terrible make up. headless poet is smiling to me_ as the plastic melts away…I am under the silver stones sacred scared of every blue drop I have to go through this black rain so come bionic date come con son on Surrealism,… béton youRself_

Robert Redford For Bedford:  Robert Redford for Bedford is an ongoing and amorphous project based in Bristol. We don't know what we are doing. We think it is music, but we don't really even know what that is. Perhaps we'll find out through experimentation

SIFIR: let it not be a regressivisitation to a zer0-state unless its visitibility is regained and forgotten like a fish-howl.

Tracy Lee Summers: 133ml OZ MADE IN FRANCE 0003 ANTI STATIC guitar ANTI FOG feedback PRO studio effroissé SQUASH October 2008 Slow ride in the field. Peanut baume on your neck. Pour ce troisième volet régression, cabaret et burlesque l'idée de départ est un retour de branchement sur l'arrivée de la note Résultant une masse opaque et biscornue -------------------------------------------------------------------TRACY LEE SUMMERS -------------------------------------------------------------------------aka Colin Johnco ----------------------------------------------------------colinkolin@yahoo.fr----http://colinjohncorecords.free.fr---------------------------------------------------http://leuropeparisien.free.fr--------------------------------------------------http://www.myspace.com/tracyleesummers -----------------------------------------------http://www.myspace.com/colinjohnco

Download and play 0003 survey by going here

0002 survey has a theme – 'Bodies the Instruments' - proposed by SIFIR; derived from and connected to his Somnambulist Situationists project. The music, images, and writing of each of the contributors to classwar karaoke 0002 survey constitute a response to this theme, to greater or lesser extents. (Or: the karaoke must be built.)

Bryan Lewis Saunders No jokes, no bullshit, just pure tragedy ///// Comfy Rubbish Leave our guts feeling raw and hollow. I don't want to be doing that, It makes my farts smell of rancid fat. We waded and crawled through its waste, It's contours nodders and shit, And didn't regret a bit of it / Theme come metaphor of systems built to deal with human physical waste and detritus; and, human waste of the non-[meta]physical kind, i.e. memes, shit ideas, shit sounds, etc. a shitaplex, or a sewer. the idea of people looking after it, for a job, and still coming out of it (the other end) with a sense of humour. I guess we're dealing with the human body in a sense of what it takes in, and what comes out the other end – physically and metaphysically. is this bollocks? I dunno – if so, this idea has just been flushed away and become part of the shitaplex. let the 'flushers' deal with it :o) We're celebrating the beautiful things related to what the human body can produce. It is an instrument in itself. we're in the sewer – doing the dirty job on this one though :o) holy shit! ///// Fonik Formed in 1999 as a duo, Fonik (originally Psychiatric Challenge) became a quartet in 2001. Working essentially with free improvisation / experimental noise using prepared guitars and electronics, pieces were recorded live in whatever location was possible at the time. In 2005 Fonik became a duo again with an even more uncompromising approach, blurring the boundary between music, noise and art. Performances are generally the 'core two' but occasionally an impromptu trio or quartet happens depending on situation / availability of the 'occasional contributors' listed below. The duo's background is varied coming from jazz, avant garde, post rock, industrial and new music with many years of playing and performance hours between them. Material recorded is occasionally reworked with various sound editing techniques bringing a completely new angle to the material. It's kind of a combination of traditional improvisation techniques combined with diy technology. Reworks can be done in real-time, this becoming an improvisation in itself, with parameters being tweaked as and when required. Otherwise traditional tape editing techniques are employed but using digital software. Recently Fonik have presented the films 'Nosferatu' and 'Das Kabinet' providing a live improvised soundtrack (Manchester's' Green Room completely sold out) and are currently working on a re-edit of 'Metropolis' for 2008. Nosferatu with accompanying soundtracks is available on DVD from Electronic Musik. Foniks' work is available on Electronic Musik, Casual Seizures, Earth Monkey and Knife in the Toaster. Fonik are also making appearances as part of Manchester musicians collective 'Gnod'. Gnod's line-up shrinks and swells as the music rotates & expands to reach new frontiers and quite possibly other worlds. www.myspace.com/gnodgnod Fonik have been seen playing with (amongst others) Evan Parker, Damo Suzuki, Frakture Big Band, Bark!, Lol Coxhill, John Russell, The Good Anna, Spoils & Relics, Orion Arm, Blood Moon, Cheap Machines, Stables, Serfs, The A Band, Johnny Scarr, Ghost of an Octopus, Beach Fuzz, Peterloo Massacre, Hunter Gracchuss, Thee Moths, The Long Tail, Gimp Nipples, Parting the Wild Horses Mane, Ford Maddox Brown, Baltic Fleet, Sonver, Petals, Designer Babies, Duet for Theremin & Lapsteel, Chora, Rhodri Davies, Eddie Prevost, Mark Wastell, Paul Rutherford, Phil Marks, Philip Jeck, Keith Rowe, Colin Potter, Roy Harper, Tim Hodgkinson, Roger Turner, Solar Fire, Swung Dash, Smear Campaign, Astral Social Club, Stuckometer, Illuminati, Disco Operating System, Fibreman, The Telescopes, Horse Hair, Noise Club, Barbarians, Lanterns, The Tajalli Vortex, Cooper Jones, FTSE 100, Ashtray Navigations, Konk Pack, Gnod, Action Beat, Agripon, Poltergroom, Sannyasin, Good Noise Bad Noise, Cardboard Lung, Clutter, Janek Schaeffer, Mole, Phil Morton, Phil Lucking and Dan Weaver. Members are also part of DIY promoters the 'Warrington Improvised & Experimental Music Collective' who regularly stage live performances of visiting artists. © Electronic Musik 2008. Ian runs the Electronic Musik CDr label which has an equally uncompromising approach in choice of releases. www.myspace.com/electronicmusiklabel You can download (free !!) a Fonik live set (or 2) at http://www.archive.org/details/Fonik200610-28..mp3 Fonik are: Harry Gallimore – electronics / percussion / Ian Simpson – prepared lapsteel / percussion. Occasional contributors Pascal Nichols -percussion Dave Jackson – sax / reeds Website www.myspace.com/fonikfonik E -Mail explode100@hotmail.com Current Releases Live at Madge's Kitchen * (2002) Live from Saturn * (2002) An Evening of Noise * (2003) The Bracelet on the String * (2004) Fraktured Culture * (2004) Noise Reduction System * (2005) Forty Five Minutes for Hugh * (2005) Provocation of Sound * (2005) Live In Liverpool (2005)** Both Ends Burning (2005) Northern Solar Noise (2006) New Instrumental Usage (2006) Fonik (2006) Fuel (2007) on Knife in the Toaster Records Split with Ford Maddox Brown (2007) on Casual Seizures Scatter Graph (July 2007) Sounding First (January 2008) 3" ep Sounding Second (January 2008) 3" ep Resonator (July 2008) on Earth Monkey Label Nosferatu (2008) DVD with 3 selective soundtracks * as Psychiatric Challenge ** as Tokomac  All others are Fonik. All cdr's are £3.00 plus postage (£1.50 in the UK) All 3" cdr's are £2.00 plus postage (£1.50 in the UK) All are available from www.myspace.com/electronicmusiklabel © Electronic Musik 2008. What's been said ….Unrelenting Warrington-based champions of experimental music in the UK's most unlikely location. Faust minus the muso elements. Scraps of radio, alien tones, BBC radiophonic (pun intended?) workshop sensibility. -Golden Lab Records 2007. The diversity of instrumentation lends intself to variety, excitement, surprise, and overall interest-and entertainment-value. Improv suits small groups, in my view. But it takes more than limited numbers of personnel, of course. To a man, your attention to detail and your listening to one another, the lack of ego, makes for a real shared dynamic. – murmurists, 2006. Creeping precise drones that bubble and crackle through your mind space like shrinking inside a switched off television with a 9volt battery taped to your tongue, on an abandoned beach somewhere in the cosmos, and realising your CB Radio is destroyed and the voices you've been hearing are starting to turn. Outstanding bleak drones from these Warrington men. -Casual Seizures 2007. Fonik -home-made synth & guitar improvisations to make you hide behind the sofa.  Warrington's finest electronic improvisers coming to exterminate your ears "like Stockhausen's worst nightmare" – Dave Jackson (Solar Fire Trio) 2007. The new project from the guys who brought you Psychiatric Challenge and every event in Warrington that ever incorporated experimental music. Dark electronics mingle with a tortured guitar in blissful mayhem. Fonik have collaborated with everyone from modern composers such as AMM drummer Eddie Prevost to noise-brats such as Stuckometer drummer Pascal Nichols (who's not a brat, he's actually a dude) -Rowf Rowf Rowf 2007. Quite unique what you do with your sound … interesting – Le Missile 2007 (Here & Now). Lock up your ring modulators, Warrington's finest radiophonic improvisers are back for more sonic attack – Freeform 2007. After hearing their performance I felt scoured – Cardboard Lung 2007. Absorb their musical score into available orifices – Velvet Nightmares Magazine 2007. An ambient accompaniment of whirrs, clicks and hums of processed sound 8/10 – Owen Hewson 2007. Everyone in Eat lights digs your sound – Eat Lights, Become Lights 2007. It's nice to hear something like this...it makes me want to play when I listen to it..-JJ 2007. Utterly weird, freaked out and just a little unnerving!! Outside of the box is an understatement!! Perfect! Those two ep's are seriously nerve jangling – Bad Acid 2008. Free noise drone junkies – Bad Uncle 2008. Near-impenetrability, obstreperous twists and turns, brash radio or TV interjections, and the old analogue synthesiser textures. It's a sort of concise and episodic version of the old German group Kluster or 1960's AMM – Alan Haselden 2008. © Electronic Musik 2008 ///// Igors Roomy Lab Coat An address of musings, ramblings and inductive discourse by Dieckman Von Spasmid upon his problematic relationship to and with his own corporeal self. As part of igors roomy labcoat Dieckman relied upon igor leakin-beaker to provide an aural setting for SOMANTICS. Having recently found his voice, Von Spasmid intends more production shortly if he does not discover evidence showing autonomous activity of his own cytoplasm in the near future. A recently recounted statement found in an unexpected place and time and told to Von Spasmid by an esteemed colleague is hereby shared: "What happens when an immovable object meets an irresistible force? Change!" ///// murmurists Documentation of a live event, 6^th June 2008; concerning two ill-prepared bodies: one Dada / one Mama; a melding; ostensively elective. She says, "You are, I know, morbidly-unreliable, with your extracurricular thumb. But, like an ante-christ, I kiss your tourniquet; bathed in your flaccid signifiers"; to which, he says, "Oh, coherence-ape, I love you, and willingly suffice, lapping omenta, as Zion de Janeiro in Arabian cuts." (Instrumentation: bach utensil 911, old testament bitch-slap, geddy lee helium voice. Personnel: J.G. Power-Ballard, Porno Adorno, Ronnie-James Radiohead, Eno-Obscene-O, Attenuated Quang Duc, Quartertonal Prog Elvis, Jape Clogger & Id Vicious) //// One Minute Wanda '...This is the Song of the Skin Bag, hearken to it friends...' Written by Master Xu-Yun in his 19th year http://hsuyun.budismo.net/en/poetry3.html  'oh im a skinbag full of blood and bones oh im a skinbag with fingers and toes oh im skinbag full of waste and i leak im human and weak i spout crap as i speak oh im a skin bag ive only one life cant pay the price for your paradise oh im a bin bag im dirty and cheap so ill stay right here on my rubbish heap' http://www.myspace.com/oneminutewanda Written by Ms Wanda in her 45th year http://www.myspace.com/oneminutewanda ///// SIFIR 0+0 = 0 [Threatening the boundaries between sleep and wakefulness, somnanbulist experiences draw the attention to a state of transitivity, transition, or rather a two-way passage between the decidable and the undecidable where nothing unfolds itself properly. by heaven I charge thee, speak! Unknowable the things we say, we do, we think, we mumble,we whisper during a somnambulist state render all the organisations of the mind and the body useless, foregrounding the fact that a walking body in wakefulness is an inorganic entity the organicity of which is only a make-believe initiated by the insertion of a spinal cord into a heap of meat. A mote it is to trouble the mind's eye. but also the ears' eye and the eyes's ear … ear's seeing and seeing's hearing. The organic unknowable:  Is it only a physical state or some particular state of mind? Victims of the 'fugue,' 'psychastenia,' 'dei paralysis progressiva' have told and are still telling us their incredible stories of limit experiences such as walking on hours on end and coming back with no memories about the walk. What are the sounds of such a body? A somnambulist body … grunts, mumblings, farts, snorings, vocals, finger taps, footsteps, anything recordable about the body yet such presumed passages between noise and sound are only illusory for they only confuse our notions of sound, speaking, or representation, given the impossibility of registering any such sounds as proper passages from noise to sound or voice. If the undecidable is what lies between two eyelids, or between the two sides of a tympanum, punctures on the latter would be more interesting to investigate than such recordings or "sound-art" which seems to be knowing the two sides of the tympanum too well ... here the decisive point lies in maintaining two states at the same time: sleep and wakefulness … especially as a strategy against too much music, too many images – too much art. All the music theory pales when confronted with music as automatic writing, the letters, words, and sentences of which are already written on the seemingly blank paper and become audible and visible only when eyes, mind, body are freed from the wakeful state of decidability … all sounds like a sound-quantum as if it can be heard … the organic unknowable, not because it is purely organic or knowably 'unknowable' … yet if this is a somnambulist revolt, the situation is now, even giving the lie to a "now."] ///// Tracy Lee Summers http://www.myspace.com/tracyleesummers  undRess Beton it came crawling from under the floor of all swamps of i ///// Zoologic sound concoctions spawned from the euphoria and melancholy of human condition. [hmmm... a boiled down version sure-stating-compositions, improv, multi-tracked, experimental, electro / acous, field recording, processed, rythmic, rants, random-tags / descriptions ~ a gutteral splurt*
~ as it changes time to time and falls under for slow exchange i have overlooked. thanks.]

Download and play 0002 survey by going to http://www.archive.org/details/CWK_0002

an l after i, an n before e Target = "BLANK" (deny: TRUE) Comfy Rubbish A collaboration of 3 (with occasional guests). Using electric, acoustic and bass guitars and effects; synths and sound generators; microphones for percussion, voice and ambience; transistor radio plectrum, e-bow and computer software. Improv / jam and marmite based in essence, but most pieces are engineered and edited, layered and caressed, sometimes mangled. Mostly instrumental. Some pieces evolve from a single loop idea or sample and occasionally have been known to be entirely composed over e-mail – i.e. passing it around and working on it individually at home so the piece effectively 'snowballs'. Some pieces are entirely improvised in the studio and just require mixing. Focus is on a 'vibe', a 'feel' and sometimes 'accident'. From surgical to dada. Stravinsky said "A composer improvises aimlessly the way an animal grubs about. Both of them go grubbing because they yield to a compulsion to seek things out...he is in his quest for pleasure". We grub for pleasure because music is the ultimate. Sounds like: electronica with salient & subtle guitaristics; jammed improv over samples and/or programmed rhythms and acoustic percussion, rockish guitar riffy, hooks and madness, synths and sound generators, swirly abstraction e-bow and transistor radio plectrum. Variable - good, Rockall – gale-force - good - Fair Isle Pharaohs - rising slowly becoming cyclonic. Different to different people in different moods at different times; and been described as "alright like". Based in the Brigantes, from Billinge Lump to Sutton, Northwest Engalnd Dr. Whom Dr.Whom makes music on a loop station which he named 'THE DADDYO'. Previous Achievements in Music: 1. Comforted a stranger 2. Made someone laugh 3. Has possibly caused several rifts in space/time somewhere near Holmberg IX 4. Played a live show on Christmas eve eve Aims in Music: 1. Have more kettle leads 2. To Play on Christmas eve 3. Pray and ask God for more stuff 4. Make 1 Million or 1 Billion Pounds ice bird spiral Ice Bird Spiral inhabit an as-yet unnamed cultural No Man's Land that sits somewhere between Psychedelia and Old School Surrealism - a disused patch of diseased-looking scrub-land that used to be a cricket-pitch or a battle-field. There's a rusty old lawn-mower propped up against the changing-room doors. The clock on the pavilion has no hands. As dusk falls, albino bats stream out of the orchard and navigate their way through a maze of concrete bunkers and ornamental ponds filled with brackish water. It's beautiful here: words and sounds hang in the air like ripe, crystalline plums waiting to be picked. Our dreams are full of cobwebs and peeling paint. We skinny-dip in the Impossible. The Future = The Past. History is an illusion: all moments exist simultaneously. More people arrive here every day. At night, pale figures dance in the rotten vegetation that's beginning to blossom in the ruins of Woolworths. There are lights at the far end of the orchard: the crackle of bonfires and voices that sound like distant walkie-talkies. One day we'll build a city here that will look like nothing that ever existed before: A tiny taste of Forever. igors roomy lab coat  Igor's Roomy Labcoat is the latest link in a chain of creative identities, an outfit comprised of members of a range and number of bands; from Sid James to SID chip these boys almost know the score :) In the hope of creating electro joy for the quantum denizens of the virtual world and a rush of sodium activity within the myelin sheaths of fleshy corporealists the project team has managed to self actualise within corporate business jingo; the following convergence is the result: Igor Leakin-Beaker :- The rythmic lynchpin and face of IRL Stix :- A punkist trashabilly with an interest in extremely tense music Dieckman Von Spasmid :- Exploring the chemistry of productive ineptitude, with a particular interest in the properties and mechanisms of oafanone and 1,2,3-tri spannerzine. David Jeremy :- An earnest and yet joyful youth, aspiring writer and obscure music fan Pete, Boop and The Yak :- A trio of misfit aliens playing audio abomination and claiming the charming soubriquet 'The Spastic Chillblains' In varying combinations and across a tangled timeline and family tree of north west Uk bands (and beyond...no less!), these characters have ran, walked, crawled and sprang along the path from original student band birth to their present creative incarnation, Twists and turns have been many, however an eye has always been kept on originality with the aim of both achieving and enjoying this. In short a complex outfit.....or an outfit with a complex? Laugh, it's good for you dammit:) murmurists we are you dragging halo one minute, wanda 'Wanda treads a fine line between art, pop, poetry, musical, music hall, cabaret, karaoke and sometimes scrapes the barrel of old baloney to serenade you with short-but-not-always-sweet sonic-clonic treasures - some of which have recently been broadcast on Radio 6! The track 'Walk the Talk' was created especially for this compilation prometheus (unbound) ''When making visual art I want rhythm, harmony, dischord, something sharp, bright or dull and muted, something that shouts and something that whispers, a play on scale, an ambiguity of space. When creating soundscapes or music I am looking to play with colour, line, texture, tone, using anything I can make a mark with, reacting to each mark made, slowly building a tapestry, something solid, visual, sculptural or architectural, whilst all the time desolving the edges...and vice versa.'' Footnote: The soundscape presented here 'Digital Landscape (Lost Horizon)' is a piece made from field recordings taken from various walks in my surrounding landscape. A one time industrial town with patches of open space and overgrown old slag heaps from a defunct mining industry. Open spaces are now slowly being built upon and developed by new industry replacing the old. This reminds me of JMW Turners painting  'The Fighting Temeraire' a romantic view of progress in technology, the old giving way to the new, life in a constant state of flux. I treat the field recordings and samples then start to use these as sequences etc whist also using the field recordings and treatments as source sounds for midi synths. This allows me to play the sounds and manipulate them further, shaping the sound as I see fit. Some sounds may seem familiar, some not so. The work I hope gives the feeling of the semi-urban and industrial, both open space and claustrophobic built environment. sifir SIFIR thinks music is hysteria setting all Oedipal knots free. One can injure a butterfly even with a melody tracy lee summers Hello i'm Tracy Lee Summers aka Colin Johnco working for the french net label l'europe parisien I begin to work tracy's sounds 3 years ago, for the album "Tracy Lee Summers" Minimal strings, drums cut and drones/electronics. viscera[e] Viscera[e] smells of sour corset intestines, nylon penis. zoologic sound concoctions spawned from the euphoria and melancholy of human condition. [hmmm...a boiled down version sure-stating-compositions, improv, multi-tracked, experimental,electro/acous, field recording, processed, rythmic, rants, random-tags/descriptions~a gutteral splurt* ~as it changes time to time and falls under for slow exchange i have overlooked. thanks.]

Download & play 0001 survey by going to http://www.archive.org/details/CWK_0001