Jonathan Butler – 1975 – I Love How You Love Me
16 minutes ago
Thursday, 10 May 2012
Wednesday, 9 May 2012
Roulette TV: Phill Niblock
Composer, filmmaker and photographer Phill Niblock, who runs the
Experimental Intermedia Foundation in New York, writes noble, hypnotic,
majestic music constituted of sustained sounds for large instrumental
ensembles of the same family (e.g. all strings, all flutes, all
trombones, etc.) that very gradually change their timbre and pitch
characteristics (pieces such as "Four Full Flutes", "Early Winter" for
massed strings, "Didjeridoos", and "Five More Strings Quartets"). His
work is represented on this Roulette TV video by the beginning and
ending segments of his elegant composition "Guitar too, for four",
a.k.a. "G2, 44". Although only three guitarists are seen on the tape,
the computer samples make a total of 24 guitar parts plus two tracks
each from five other players that contribute to a slowly unfolding
density of harmonic richness. On two screens are images of Japanese
workers on Honshu island unloading and processing fish, mending and
re-stringing nets, trawling out to sea, and displaying their catch. Bits
of ephemereal melodic-like gestures (overtone illusions) sometimes
arise later in the piece. In his interview, Niblock explains how the
notion of minimalism applies to his music, describes his fascination
with the movements of people working, his efforts to get rid of
editing-style, his relationship to the audience and keeping his work
filled with content but "neutral" in the sense of allowing the audience
their own perceptions.
Mark Lanegan Band - 4AD Session
1. The Gravedigger's Song
2. St. Louis Elegy
3. Riot In My House
4. Harborview Hospital
Following the release of Blues Funeral back in February, Mark Lanegan Band have recorded four songs for the thirteenth installment in the 4AD Sessions series.
Pull Studios in Manhattan's Hudson Square played understated host to a session that leans heavily on Mark's indelible voice and undeniable presence, as well as the intensity and precision of his band. Filmed during a break in rehearsals for a New York City show that was to herald the release of the album, the session captures a band fully sharpened and itching to hit the road (US dates begin May 10 and are listed below).
Tearing through four stand-out tracks from Blues Funeral, the performance ripples with a quiet fury that will be familiar to all those who've followed Mark over a career spanning more than two decades. Backed by a band as skilled as Mark is charismatic, the ambitious range of tracks such as 'Harborview Hospital' sit comfortably beside the barely concealed rage of 'The Gravedigger's Song', reminding once again why Blues Funeral is such a rewarding listen.
Unlike other sessions in the series in which a firmly defined visual concept was central to capturing the performance, the intention here was to strip away any studio trickery in order to allow the band to stand-alone. That this simplified approach remains so powerful is testament to the inimitable quality of the music on show and Mark Lanegan's enduring allure.
Catch the Mark Lanegan Band on tour in the US this May:
May 10 - New York, NY - Webster Hall
May 11 - Washington, DC - 9:30 Club
May 12 - Philadelphia, PA - TLA
May 13 - Boston, MA - Paradise
May 15 - Toronto, ON - Mod Club
May 16 - Detroit, MI - Small's
May 17 - Chicago, IL - The Metro
May 18 - Minneapolis, MN - Cedar Cultural Center
May 20 - Denver, CO - Bluebird Theater
May 22 - Los Angeles, CA - Gene Autry Museum - Heritage Courtyard
May 23 - San Francisco, CA - Great American Music Hall
May 25 - George, WA - Sasquatch! Festival
May 26 - Portland, OR - Wonder Ballroom
CREDITS
Director: Robert Semmer
Producer: Robert Semmer
Director of Photography: William Voermann
Additional Camera: Anthony Mathile & Robert Semmer
Assistant Camera: Adam Gong
Gaffer: Rome Peterson
Editor: David Feinberg Colorist: Paul Shin
Sound recorded by Mitch Davis and mixed by Jeff Curtin
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Did Sony Bungle My Bloody Valentine's 'Loveless' Reissue?
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Kevin Shields Discusses New MBV Album
Woman singer is a woman
There's a deeply dispiriting collection of news reports today (just Google Laura Jane Grace Gabel Against Me) about the lead singer/songwriter and guitarist for the band Against Me! who has announced that she's transgender and is beginning medical and social transition to help alleviate her gender incongruity.
The news reports are dispiriting for two reasons: first, that TS/TG people, regardless of what they do for a living, are still objects of curiosity whose primary value is as a source of gossip for the general public - and second, that the reporting of such a deeply personal matter is still so substandard.
On her Twitter feed, Laura links to an article to be published later this week in Rolling Stone magazine. I can only begin to imagine how difficult that must have been for her and the pain of seeing it so full of sloppy reporting can only have added insult to injury at an already incredibly difficult time. Although Rolling Stone actually manages to respect her preferred pronouns - and it's frustrating to realise that even in 2012 it's still a comparative rarity to see even this most basic form of respect in the mass media - it's immediately cancelled out by the first paragraph which wastes no time in spouting the same hackneyed old nonsense that will be sickeningly familiar to anyone who's found themselves in the same position.
I'm not going to get into a rant about the mass media's appallingly and continually low standards of journalism about TS/TG issues - I'd be here all day and anyway, I've done more than enough of that in previous posts here at BoP and elsewhere. I just think it's sad that, despite much progress in the acceptance of TS/TG people over the past few years in many sectors of public life, we're still running into this ignorance time and again. I only hope that the fans of Against Me! are evolved enough not to let loose a wave of transphobic bigotry in a kneejerk reaction against Laura's changes.
Anyway, I'm going to close this brief post by wishing Laura a future full of good and happy things and hope that her transition is as smooth and as safe as it possibly can be. Much love, Laura, thinking of you.
If I could have chosen
I would have been born a woman
My mother once told me she would have named me Laura
I'd grow up to be strong and beautiful like her
------------
Cross-posted from Bird of Paradox
Are publishers waking up from their dream about apps?
When Apple’s iPad arrived on the scene in 2010, many magazine and newspaper publishers saw it as a gift from the gods: a chance to turn back the clock and convince consumers to pay
for their content in a new form. But for many, that dream has given way
to the cruel reality that apps are at best a stop-gap measure, not a
dramatic new business model. As MIT Technology Review editor and publisher Jason Pontin points out — in a post about why his magazine has decided to kill its app — the benefits don’t outweigh the negatives for both readers and publishers. It’s a lesson that some other content producers might want to consider.
The iPad — and the content economy that Apple created along with it, thanks to iTunes and more recent additions like the Newsstand — was alluring for many publishers because they believed it could overcome what they saw as the “original sin” of not charging for their digital content in the first place. It seemed like the perfect solution: a device that would replicate the magazine or newspaper experience in digital form, with Apple handling all of the annoying back-end details around payment. As Pontin describes it:
The iPad — and the content economy that Apple created along with it, thanks to iTunes and more recent additions like the Newsstand — was alluring for many publishers because they believed it could overcome what they saw as the “original sin” of not charging for their digital content in the first place. It seemed like the perfect solution: a device that would replicate the magazine or newspaper experience in digital form, with Apple handling all of the annoying back-end details around payment. As Pontin describes it:
"Publishers believed that because they were once again delivering a unique, discrete product, analogous to a newspaper or magazine, they could charge readers for single-copy sales and even subscriptions, re-educating audiences that publications were goods for which they must pay."MORE
Netherlands first country in Europe with net neutrality
On 8 May 2012 The Netherlands adopted crucial legislation to
safeguard an open and secure internet in The Netherlands. It is the
first country in Europe to implement net neutrality in the law. In
addition, it adopted provisions protecting users against disconnection
and wiretapping by providers. Digital rights movement Bits of Freedom
calls upon other countries to follow the Dutch example.
The net neutrality law prohibits internet providers from interfering with the traffic of their users. The law allows for traffic management in case of congestion and for network security, as long as these measures serve the interests of the internet user. A technical error in the law might still be corrected in a vote on 15 May.
In addition, the law includes an anti-wiretapping provision, restricting internetproviders from using invasive wiretapping technologies, such as deep packet inspection (DPI). They may only do so under limited circumstances, or with explicit consent of the user, which the user may withdraw at any time. The use of DPI gained much attention when KPN admitted that it analysed the traffic of its users to gather information on the use of certain apps. The law allows for wiretapping with a warrant.
Moreover, the law includes a provision ensuring that internet providers can only disconnect their users in a very limited set of circumstances. Internet access is very important for functioning in an information society, and providers currently could on the basis of their terms and conditions disconnect their users for numerous reasons. The provision allows for the disconnection in the case of fraud or when a user doesn’t pay his bills.
Bits of Freedom, the Dutch digital rights movement which campaigned for these provisions, applauds the new law. It considers this a historical moment for internet freedom in The Netherlands and calls on other countries to follow the Dutch example.
The provisions are part of the implementation of the European telecommunications rules. A translation of the provisions can be found here, but it does not include the technical error in the law which might be corrected on the 15th.
Via
The net neutrality law prohibits internet providers from interfering with the traffic of their users. The law allows for traffic management in case of congestion and for network security, as long as these measures serve the interests of the internet user. A technical error in the law might still be corrected in a vote on 15 May.
In addition, the law includes an anti-wiretapping provision, restricting internetproviders from using invasive wiretapping technologies, such as deep packet inspection (DPI). They may only do so under limited circumstances, or with explicit consent of the user, which the user may withdraw at any time. The use of DPI gained much attention when KPN admitted that it analysed the traffic of its users to gather information on the use of certain apps. The law allows for wiretapping with a warrant.
Moreover, the law includes a provision ensuring that internet providers can only disconnect their users in a very limited set of circumstances. Internet access is very important for functioning in an information society, and providers currently could on the basis of their terms and conditions disconnect their users for numerous reasons. The provision allows for the disconnection in the case of fraud or when a user doesn’t pay his bills.
Bits of Freedom, the Dutch digital rights movement which campaigned for these provisions, applauds the new law. It considers this a historical moment for internet freedom in The Netherlands and calls on other countries to follow the Dutch example.
The provisions are part of the implementation of the European telecommunications rules. A translation of the provisions can be found here, but it does not include the technical error in the law which might be corrected on the 15th.
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Dronestock - Northcote Uniting Church - 2 Jun 2012
The 2012 incarnation will match its predecessor on all fronts. This time around taking place within the acoustically savvy Northcote Uniting Church.
Featuring:
Grey Skies Blue / is an experimental documentary about protest, power and the possibility of change. Utilising interviews and imagery from the S11/Melbourne World Economic Forum demonstrations of 2000, Grey Skies Blue documents the experiences of a community gathered at a political demonstration. Featuring an original soundtrack performed live by Seth Rees (Amplifier Machine, The Spheres) and Guy Harris (The Spheres, Winternationale) the three screen documentary is an evocative encapsulation of a shared emotional experience - the crystallisation of a time, place and community of people who believed if but for a fleeting moment that “another world is possible”.
Em Vécue Aquieu / is the solo project from guitarist Sam Filmer. Creating ambient, spiritual sound, Sam builds an articulate spacial environment.
Experiencing his rare live shows, his sounds rise up with texture to gently fill the negative space between a nearby coffee grinder and a murmur from the back row. Chordal sound design together with heavily effected guitar, Em Vécue Aquieu explores experimentalism in classical structures without lending too often to silence. A persistent, lulling effect is translated, completely submersing everything in close proximity. This show also marks the official launch for his debut release "Lightlike".
Ollie Olsen / has amassed an incredible body of work in a variety of forms and projects: a chameleon-like artist delving into early punk/post-punk, industrial, with The Young Charlatans, Whirlywirld and NO, through to his electronic music, sound design, compositions for film and television and too many others to name.
Seaworthy / are a three piece collective that revolves around core member Cameron Webb as well as Sam Shinazzi and Greg Bird, exploring melodic and experimental approaches to the construction (and unravelling) of minimalist sound scapes from looped guitar, warm drones, piano, electronics and field recordings. The compositions often blur the lines of conventional categorisation with elements traditionally considered part of “indie” or “post” rock blended with processed musical and field recordings. Instruments and samples are looped through amps and effects pedals, giving the sound an organic feel concentrating on subtle shifts in melody, tone and texture to convey a sense of time and place.
Zac Keiller / seeks to discover new and unique sonic textures from one of the most overused and unimaginatively approached instruments in Western music: The guitar. The majority of his previous releases saw him working with ambient textures or electroacoustic improvisation. Whilst more recent efforts have seen him limiting the use of pedals, attempting to find a kind of transcendence through stark purity of tone, using the entire guitar, attempting to make it breathe with no smoothing out of the rough edges or slick over processing. The compositions vary and grow to tell stories and create mood, with an atmosphere in parts epic wall of sound, while at others minimal and sublime.
Monolith kick off the evening with their own brand of industrial space drone. Monolith conjur a unique atmosphere that is at both times, expansive yet contained. Taking inspiration from John Carpenter, Minit, Grey Wolves, Tangerine Dream, and Eliane Radigue to name a few, yet still managing to exist in a terrain of their own.
Saturday June 2nd.
This is an EARLY start show with doors opening and music beginning at 6PM.
$10.00. Northcote Uniting Church. 251 High St. Northcote.
Facebook: https://www.facebook.com/events/383156518393357/
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