Japanther reviews Creepy Teepee Festival

Incomplete festival review and contest. Kuma Hora, Czech Republic – july 13th, 2012. 
All the concert goers looked like the future people in Bill and Ted’s. One of them   floated up and shyly asked if I’d judge a contest of a few new bands playing the fest.  I took this request from the future very seriously and these reviews are the result.

Planety: Pět minut za městem
A dreamy crash-boom-bang traditional pop sound played with force. Heavily effected up beat lead guitars smells like Czech grunge. The lo-fi approach and flavor has me dancing around the room. It doesn’t even matter that I don’t understand a word, I instantly liked Planety’s simple approach.


KRISTEN: An Accident!
Loopy intricate guitar & bass paired with sparse open drumming and repetitive vocals. Solemn interesting indie noise music. I believe the late Jean-Michel Basquiat would have loved this Polish trio. Aggressive jazzy dance jams with free form bits scattered all over the place. BRAVO!


Piotr Kurek: Coda (Digitalis – sold out)
Insanely surreal video game sounds pushed together by analog keyboards. Like being trapped in a 8 bit haunted house while wearing a lead suit. I like that this Warsaw artist is working with dance companies and artist residencies. I’d love to see the results of those efforts someday.


Aches: Fine Tongue EP on EXITAB label.
Colorful droning loops with nice organic feeling. Super creepy “stalker vibe” vocals and ultra slow drum machine beats. Painterly guitars that seem dream like over what sounds like screwed up jungle beats. This Brit relocated to eastern Europe and interesting results abound.


Mile Me Deaf: Call Us Rats – Fettkakao Sampler – Fettkakao 2011 // fett022 
Sarcastic psychedelic pop music. Driven by a collective beauty and tight guitars. From Fettkakao, the same Vienna label that brought you PLAIDED and VORTEX REX, two additional pop groups with a very unique takes on the form. I recommend all three whole heartedly.  


Rouilleux: Zugzwang
Hand made black and silver digipack. Slow sad wash of tortured guitar. Like a long folk song sung underwater. High smokey vocals sung under a curtain of effects. Rouilleux is very depression influenced but still the balance of noise and songwriting is pleasant and keeps the listener engaged.


S ND Y P RL RS: DARK MATTER book + cdr, 22 pgs, Colpa Press
Nice warm German drone that lasts and lasts. The book would certainly enhance the experience of the piece, alas I didn’t get one. Still I enjoy the warm, slow building rumble this Berliner produces. Sounds like living in a jet engine or a steam ship. Just like any long trip, after about 40 minutes, S ND Y P RL RS slowly fades out and ends…

Sent from my smart phone

 I did more book reading this year than music listening but I can say the best show I have seen in the recent past was Akitsa in NYC – total outsiders and brutal and committed, really amazing. I don’t know too much about them but can say they are French Canadian and rule,  like some kind of Flipper/Godflesh rhythm section led by Diamanda Galas manly black metal. Thats live at least. They put records out on Hospital Productions along with other labels.

Akitsa – Les Sentinelles – (Right Click/Save As)

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Also Lau Nau at Issue Project Room was incredibly beautiful – rare that you see songs performed that are so surprising and elusive. Totally magical. I’m not one for music adjectives or word descriptions but I could say Lau Nau is a Finnish singer songwriter who lives on an island. She comes from a quiet snow bound domestic existence and her songs reflect that: delicate, subdued and solemn. She played with a Finnish film behind her, and it was the best pairing of music and film i’ve seen in a long time. She puts records out on Locust.

Lau Nau – Painovoimaa, Valoa – (Right Click/Save As)

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I love the Circle of Ouroborus new records, beautiful weird work, and the singer is like a stoner Mark E Smith fronting a metal band. This Finnish experimental black metal band put out lots of records (ten LPs, nine EPs, seven splits and seven demos since 2006 !) with lots of different feels.

Circle of Ouroborus – The Prayer – (Right Click/Save As)

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Circle of Ouroborus – Staining the Paper to Create – (Right Click/Save As)

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My biggest kick of the last week or so has serious meditating on the greatness that was Royal Trux. I was going to write just about them but didn’t want to write about an old band!
But I loved them when I was a kid and have been thinking about them a lot lately.
They totally changed my life, and for that, I owe them a big Gracias!

Royal Trux – Ny Avenue Bridge – (Right Click/Save As)

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Perennial Records Interview By Dean Spunt

This is an interview with Hayes who runs Perennial Records from Olympia Washington. They put out great records from the scene up there. I wanted to see how it was run, how the collective consciousness in OLY was going, and just catch up with a friend. Enjoy.

Perennial MP3s selected by Jub of the french punk printed zine Freak Out!

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John Dieterich of Deerhoof interviews Raven Chacon

In 2010, shortly after moving to Albuquerque, New Mexico, I ran into Peter Mezensky, organizer of the Albuquerque Experimental Music Festival. He was in the process of organizing the next festival, which was then less than two months away, and he asked if I would be interested in performing. I responded that I didn’t really want to play solo and wondered if he had a suggestion of someone I should play with, and he immediately leaned back, pointed to the person sitting next to him, and said, “you should play with Raven Chacon.” We played together for the first time at the festival, and we have continued to work together over the last couple of years, often in collaboration with pianist Thollem McDonas.

 Raven’s work is very difficult to pin down (editor’s note: from chamber music to speed metal and folk or experimental noise), and I won’t even try to list all of the projects he’s involved in. If there is a thread that flows through much of his work, for me it must be patience, and by patience I don’t mean passive waiting. Raven’s patience is disorienting in its intensity, especially to someone who is as high-strung as I tend to be. The spaces in his work tend to bear the same weight as the sounds do, and I’ve found that his music has made me think very differently about my own relationship to the sounds that I make. In a way, I feel like he is both more detached from and more committed to the sounds he makes, and I find it very inspiring. Many thanks to Raven for taking the time out and humoring me, and thanks also to Olivié for asking me to be involved in Amour and Discipline.
As I finish transcribing this interview, Raven is in Arizona on the Navajo reservation installing 4 sound sculptures which are powered by wind and sun (see photo). For more information on Raven’s myriad projects, go to the end of the interview for links, discography, etc. The recording of our first meeting is now out as part of Deathbombarc’s Digital Series Club.

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Andy Moor + DJ/rupture

The refreshing and generous Andy Moor sent this transcription of a transversal discussion he had with Jace Clayton, aka DJ/rupture, conversing about possible meanings for the expression “post-colonial culture”, the uncertain substance of rastafarianism or what DJ tools you should use or not…
Music always meets politics.

First step, you should play DJ/rupture famous “Gold Teeth Thief” mix from 2001 (check full infos and tracklist here).Then move to this enlightening interview.

DJ/rupture – Gold Teeth Thief Part A (right click + save as)

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DJ/rupture – Gold Teeth Thief Part B (right click + save as)

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Jace in the subway, Brooklyn

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Chris Weisman – Songwriting as Pitch Noise

Texture, timbre, mood, vibe: today, music journalists and musicians alike tend to keep the bulk of their eggs in this well-padded basket of aesthetic signifiers. These amorphous musical elements don’t lend themselves very well to language, and so their privileged status in music writing is a little ironic. When the fascination with aesthetic categories swells to the point of eclipsing the more tangible tonal, structural and lyrical aspects of songwriting, writing ostensibly “about” a specific piece of music finds itself in the absurd position of holding the indescribable above the inscribable. Similarly, musicians captivated with aesthetics face some pretty limited prospects for developing novel material if the possibilities of musical novelty are relegated to an abstruse realm of effect and intention.

All this to say: what happens if, instead of resorting to “fifth-dimensional namecalling” by attempting to stabilize unstable aesthetic signifiers so that writing makes more sense, you hone in on the representable, repeatable, linguistically communicable content of a piece of music? What happens when there are no rules but structure still matters? What happens when there are no rules but a C# is still a C# except it’s arguably happening more like a Db right now, or you’re playing in a nonstandard tuning so it’s a C# on the fretboard but an A on the stroboscope?

What happens is this: you write some music infused with your engagement with the event of this language. I don’t care if C# is any more “real” than the “suburban vibe” of the new Real Estate record; I don’t care if you name and remember your chords or write down your melodies (I usually don’t). Sure, the premise that C# is any more ontologically stable than timbre is indefensible; both are theoretical as far as I’m concerned. The difference lies in the availability of pitch to the interactivity of language. As Socrates said to Theaetetus, “the notes, as every one would allow, are the elements or letters of music.” And as soon as you hit that C#-on-the-fret-but-A-in-pitch on the fretboard, you are dealing with a multivalent empirical phenomenon: that C# and that A are characters you get to respond to, favor, position, make speak, or deny, etc., all the infinite dramaturgical possibilities fostered by the God Position and the corollary Position Of Worship. Privileging tonality in music doesn’t mean presuming to answer the question of knowledge, of objective forms, etc.; instead, it opens up 1000s of ways to frame those questions.

Chris Weisman – Os Tonokos Token (from Bentonia on Blueberry Honey) (right click/save as)

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Chris Weisman: “Pitch Noise is the aesthetics of Noise — shock collages, maximum sensuality, letting the materials speak in their own tongues — but focusing on pitch relationships rather than timbre, texture, costume. What seems reactionary — but is radical by virtue of 1) being unpopular 2) requiring an education in theory and analysis — is the privileging of exactly the elements that were traditionally hierarchically higher in Western Classical music. For example Debussy believed timbral and decorative elements were awesome but must serve the higher powers of cadence, form, tonal drama; that the real music is what can be captured on the notated page. You know like you can read a poem aloud in all these different ways — and those ways make a difference — but the poem is really somewhere else; it can be real all these different ways but ultimately the poem is unreal, abstract, like geometry or math or a game. These are the star systems I try to encounter. When I bring them to earth I might try a pedal but the real work is already done.

American civil rights attorneys suing the state often worry about inducing “bad law,” i.e. when legally uncontroversial cases based on clear precedent are heard in districts spellbound by the unshakeable ideology of pro-government, anti-plaintiff cronyism. The danger is that a ruling will prove influential, either with respect to the merits of the particular case or by introducing concepts that constrain future litigants seeking redress for violations of their constitutional rights.

During the Tang dynasty, kung-an (公案) referred to something like the precedent resulting from a legal ruling. You know it now as koan. Lin Chi said, “If you want to get it, you’ve already got it — it’s not something that requires time.” Because the practice of writing songs is time-consuming and characterized by intense focus and deliberation, there is always the danger of creating a bad public precedent! Let me try to explain what I mean.

If you do not see what I do not see, then it is quite natural that it is not a thing. Why is it not your self?” When it is taken up in thought rather than lived, the concept “pitch noise” is a pedal, too, only available to be turned on after the work is done. The institutional many-face of music may ask, “do you want to play the changes or do you want to change playing?” But you don’t have to list your sources in citationless anthropology. Participant observation is the name of the game, and if you’re doing it right, the one you’re watching looks back, failing to see not having to try.

Chris Weisman – The Mask Is The Face (from Hi) (right click/save as)

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PERVERT EGO, PINK COLOR, COCK AND KRAUTROCK MIXTAPE: Jamie Stewart of Xiu Xiu Interviews Fabrizio Palumbo of Larsen


Fabrizio Palumbo is — there is no other way to say it but — a true and pure artist in the most constructive and devoted means of understanding what that word can mean. When you meet him, just with conversation, he transports you to a place of a more fervent and a deeper creativity than you imagined that you had in you. When you play with him, using the simplest of musical gestures, he takes away the inhibition to try something new while not being afraid to be yourself.

There are a handful of people who changed my life, totally, the way i think, the way i see the world and how i hear music. His prodigious music career is incredibly worth opening yourself to, going from a dark grinding to free hearted and touching. He has also booked some of the most incredible art music of all time: Current 93, Six Organs of Admittance, Swans, Genesis P-orridge and Baby D, filing the world with art that few others would dare to stand behind.

From Torino Italy, pull back the curtain and open your mouth!

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An Interview With Jason Meagher, NATCH : A Series Of Collaborative Recordings From Black Dirt Studio

Basically, Jason Meagher of Black Dirt Studio is doing it right.  A fellow fighter against the evils of pale pop music.  He’s a sympathetic audio engineer by all accounts and it seems to me his time with No Neck Blues Band provides a unique window into the world of free-form improvisation.  

Meagher’s track record is admirable.  He’s made records for the Black Twig Pickers, Blues Control, Charalambides, Eleven Twenty-Nine, Expo 70, GHQ, Steve Gunn / John Truscinski, D. Charles Speer & the Helix, Stellar OM Source.  

He’s playing with Pat Murano as K-Salvatore (their first gig in a decade or so) as part of the Spy Music Festival at Death By Audio on Friday, July 6th.  

I got in touch with Jason to ask him questions about the fairly new and ongoing NATCH series.

Jason makes each NATCH session conducted at his studio available for free download on NATCH website. You can also stream and get them on Free Music Archive. Or even more simply, at the bottom of this post.


Play these while reading the interview :

Aaron Moore & Carter Thornton – Josef Ituk

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Dave Nuss, Rahdunes, Stellar Om Source & Aswara – Consolamentum

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Pat Murano & Tom Carter – Prophets And Martyrs Are My Witness

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Zachary Cale, Mighty Moon & Ethan Schmid – Trees Don’t Sleep

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Dave Shuford, Margot Bianca & Pigeons – Dickel’s Dream

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Black Twig Pickers & Steve Gunn – Sally In The Garden Sifting Sand

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What prompted the move upstate?

City living was something I’d done my whole life. My wife and I talked a lot over the years about moving up north and there were some circumstances that came about that allowed us to do that, so we did.

So the move wasn’t to start the studio. How did Black Dirt come about?

I’d been recording for years on a 4 track, but never with any real investment in it as a process. In the years leading up to the move I was involved in recording The Suntanama up at the Hint House on a Korg digital machine and I totally got the bug, bad. There would be weeknight sessions where everyone would split and I’d stay until the early morning hours, killing a bottle of rum, dicking around on the machine with little to no idea what I was doing, trying to make things sound good. There were mic sims on the machine that were named 57, 421, 87, etc and I had no idea what those numbers meant! Didn’t know the difference between an insert effect and a master effect… Of course, the great thing about recording is you can approach it from a very caveman perspective. What is this thing, what does it do if I put it here, move it here, turn this knob, etc. Eventually you get a feel for making things sound ok. And once you’re there, it is an easy jump to “I think I’ll start recording other people.” Which lead to Black Dirt. The timing was perfect. The bug had evolved to a full blown disease and there was nothing else I wanted to do than record music.

Black Dirt is situated in a rural area only 60 miles away from New York City.  Are you saying the shift in geography wasn’t intended to influence these potential recordings?

Well, it would be nice to say something like being in a rural area in a basement creates a vibe somewhere between Big Pink and Nellcôte, but I don’t think that is the case. From my perspective there’s not much of a difference between recording here and recording in a city, except there are less adult distractions in spitting distance. Most sessions start in the daylight and end deep into the nighttime darkness, there are few to no windows, not much fresh air in the lungs, etc. That’s kind of the same everywhere. I have heard from artists that being isolated is a great thing; that it is nice to get away from their lives, the routine, and focus on the music. For city dwellers I would imagine that seeing so many stars at night, or wild animals in the daytime, can be a nice feeling on a break, rather than a bodega or a delivery truck. That said, I have had people book time here based on the seasons – the strangling heat of August, the long nights of February, etc. Artists have utilized field recordings here as well – insects and frogs in summer, air pressure drops in late winter, rain, birds, etc.

I wanted to model the experience artists would have at Black Dirt on some of my own as a musician. One was to include a sense of hospitality that I learned from staying at Byron Coley‘s places in Western Mass over the years as a young man on tour. We built an apartment for the artists to stay in while they’re here and on long sessions (and even sometimes on weekend sessions, time permitting) we’ll cook a meal for the band, take a nice break, drink some wine, get away from the pressure for a few hours. The other was the laid back, not on the clock, homespun feeling I experienced recording at Paul Oldham’s Rove Studio in his farmhouse in KY and Jerry Yester’s place in AK. All of those places had a profound effect on me and so by virtue of transference, perhaps Black Dirt can have a similar effect on others, and perhaps wouldn’t have been possible in a city setting.

So, tell me what is NATCH all about.

NATCH is about recording people without focusing on the fact that people are being recorded. It is like an anti recording session. Get some talented people together, hang out, play some music. Music comes naturally. Without the concept of success or failure lurking in the corner of the room, if you give anyone an instrument, they’re going to make some noise on it. These sessions hopefully kinda get back to that feeling, even if the people coming here are really good players.

How did the series come about? How has it evolved after the initial release?

It got to the point here that when I wasn’t working, I wasn’t recording and I never started recording with the express idea that it would be a j-o-b type job. In the early days of the studio, Dave Nuss (NNCK, Sabbath Assembly, etc) would book these one off sessions where he’d get people together up here and just make music. He did one with the Family Underground that became the Christian Family Underground LP on Woodsist. Another with Jakob Olausson. One that became the band Amolvacy. The last one he did was with Rahdunes, Stellar Om Source and Aswara and nothing ever came of it. I had fond memories of the music they recorded and one night I decided to just start a mix and see what came of it. I was reminded of those sessions and how much fun they were. I was aware of the Daytrotter series and had recently been hipped to the Shaking Through series in Philly and it all just clicked. Why not set up some sessions that could be done fast, free and fun?

The first couple of sessions I booked were with people who had been to the studio before. Along with the artists, I had no idea what was going to happen at first. One thing that has changed is that I’ve begun inviting up artists who have never been here before, which has been amazing. Also, the sessions have begun to take on an internal rhythm – whether that is because there is a document of what has already happened, a watermark, and therefore a bit of an expectation on the artist’s part as to what they want to accomplish in the short time here, or if the walls are just vibrating a certain way when that energy of the first couple of hours of each session unfolds.

Collaboration is obviously a very important element to the series, could you elaborate as to why?

The main reason was to try and keep the sessions away from feeling like a demo process. If NATCH was a series of one artist or group coming up to do their thing, there’s a good chance it could become a testing ground for their next release. Or simply a promotional tool. With recording technology the way it is, what would distinguish a NATCH session from a recording done at home to a laptop or digital 2 track? By putting people together who have never played with each other before, the hope is to keep it in the moment, maybe find some middle ground between the artists that they might not go to on their own. There’s been a nice side effect of the series, in that some of the artists have continued to work with each other after their session.

What do you look for when pairing artists?

First and foremost, people who I hope will get along, socially and musically. I’m still waiting for the uncomfortable “clunker” session, but thankfully that hasn’t happened yet. Also, the artists should share some kind of intangible thing musically, an aesthetic, a particular nuance to the way they approach sound, where they are in their personal arc in their relationship to sound. And I’m thinking about the pairings like a sonic jigsaw puzzle – what instrumentation might work in a traditional way, or non-traditional way. Lately I’ve been inviting larger numbers of people to a single session with an ear towards a kind of one off band experience rather than a pairing of two single artists. We’ll see how those sessions turn out.

What kind of hang ups do you see when a band comes in to record with a record deal already in place?

Well, there’s an obvious focus on getting it right, for better or worse. You know, someone is paying for the time and the artists want to maximize it and make it perfect. “Are we nailing it?” “Does it sound as good as the demo / rehearsal / live show?” etc. That is all important, but there is a lot of amazing music to be found in the cracks between those questions as well as in happy accidents. Most contemporary budgets don’t allow for much experimentation in the studio. I’m not talking about writing, but trying a different approach from the one that has been hammered out in rehearsals. Another common situation is the “Come and get me when it’s my turn” scenario. During a session, it is impossible for everyone to be committed to focusing on every sound the entire time, but a lot of doors are closed when half the band thinks that they’re done with their contributions and partially check out for the remainder of a session.

I also do a large amount of artist funded projects, where the goal is to shop around the recording after it is done. That brings along a more intense dose of maximizing in a different way as well as the specter of “Will anyone be interested in producing this?” hanging out over the artist’s head the whole time.

What is your most prized piece of equipment at this point?

The default snarky engineer answer to this question is always, “My ears!” The piece of gear I love the most right now is actually something I have on semi-permanent loan from Jimy Seitang, an Alembic Superfilter. It has really changed the way I balance across the frequency spectrum over the last couple of years.

Is there a pinnacle collaboration for NATCH?  Any artist, any band (past or present), who would you choose?

How about Allen Toussaint and Leon Russell? Or Michael Hagerty and the Kinks? D Charles Speer & the Helix and Kaleidoscope? AMM and the Dead C? Fahey and Jack Rose… I would’ve retired after that one!

What’s in store for the future of Black Dirt?  Any specifics on tap?

Well my advice to anyone considering starting their own studio is, don’t do it! At least not alone. The biggest drawback of being isolated is the lack of community around the studio. It would be great to host listening parties, summer cookouts, NATCH style jams, etc, here, but it is just not feasible without a local scene. I’d love to be able to move out of the basement in the near future to have some more flexibility with mic placement and live off the floor recording, natural reverb and ambiance, as well as having some more space to incorporate a machine room to get some of the noisier gear out of the control room and bring in a 24 track tape machine. There seems to be a scene percolating on both sides of the river between Beacon & Hudson including Rosendale, Kingston, etc, so maybe a move a little northeast might be in the future. Any readers out there looking for a similar setup and a partner, get in touch!

There are some exciting NATCH sessions coming up including Dave Nuss and Michael Evans, Michael Chapman with Steve Gunn, Jimy Seitang, Nathan Bowles & Marc Orleans (tentatively calling themselves The Woodpiles), Ben Chasny & Hiss Golden Messenger, maybe something with Betsy Nichols, Dan Melchior, Jon Lam, and the Helix rhythm section – Ted Robinson & Steve McGuirl. I’ve been talking to some other folks as well, tho’ nothing is written in stone, they are equally exciting!

You now deserve to download :

Dave Nuss, Rahdunes, Stellar Om Source & Aswara – NATCH 0

Black Twig Pickers & Steve Gunn – NATCH 1

Dave Shuford, Margot Bianca & Pigeons – NATCH 2

Aaron Moore & Carter Thornton – NATCH 3

Pat Murano & Tom Carter – NATCH 4

Zachary Cale, Mighty Moon & Ethan Schmid – NATCH 5

Adam of Northern Spy, responsible for this stimulating interview, also gave us his label’s plans for 2012 :

“. In August, the first Diamond Terrifier (Sam Hillmer of Zs) full-length drops.

. In September, we’re dropping a box set.  It’s four discs of material compiling the complete sextet works by the band Zs.

. Also, we’re putting out a new record by Dan Melchior called ‘The Backward Path’ which features overdubs by C. Spencer Yeh, Ela Orleans, Sam Hillmer, and Haley Fohr (Circuit Des Yeux)

. October, we’ve got a recording by John Butcher made at the new Issue Project Room space (110 Livingston).  It’s a solo performance in the empty room.  

. And we’ve got the epic follow up to Infinite Ease / Good God.  The record is called COL and it completes the Colin L. Orchestra trilogy.  This is Colin Langenus’ band. Colin was in USA is a Monster.  Now, he’s got the Colin L. Orchestra, CSC Funk Band, and Alien Whale.

In November, we’re putting out a collaboration between the duo of Loren Connors & Suzanne Langille with the painter MP Landis.  This will be the first record by this duo in about 2 decades.  The record was made in one day, live in the studio, with no overdubs.  We projected paintings by MP Landis.  Suzanne and Loren were seeing them for the first time.  They played to the paintings.  This will be out on CD later in the year.  Two tracks from the session are getting pressed on a limited 7″ which will be available this week with original art by MP Landis.”

Learn more here.


“Pazuzu, Lord of Fevers and Plagues, Dark Angel of the Four Winds with rotting genitals from which he howls through sharpened teeth over stricken cities….”
(William S. Burroughs, Cities of the Red Night)

A recent PEW/Psychedelia American Life survey revealed that Astral Travellers spend between 10-15% of their off-Earth time in MUTWAWA.

MUTWAWA is an acid Rorschach blot (bloat?) for seekers & questers.

Some samples have been brought back from the Astral Plane, and decomposed into their constituent parts by dark-side-of-the-force chemists.

We know what MUTWAWA is made of, but not how or why.

The Association for MUTWAWAN studies held its last congress at the summit of the Great Pyramid of Cholula. No agreement was reached about MUTWAWA’s Ontology and Ontogeny.

Several theories vie for supremacy:

MUTWAWA is the ectoplasm of the ghosts of the victims of 20th Century imperialism jacking a séance convened by Green Velvet.

MUTWAWA is the conventional-direction-of-time-countervailing-ripple produced by the achievement of consciousness by military drones after entering contact with ancient Balinese spirits, aka the future echoes of a Jodorowsky-class singularity.

MUTWAWA are Wolf Eyes squashed at the revolutionary disco.

MUTWAWA are being trained up by Add (n) to (x) and Gibson’s Digi-Loa to go into the black fibre wastelands of the matrix, and whip the floor with the Lawnmower Man’s ass.

We look forward to the hypothesis testing & methodological developments that will be afforded by the release of their new cassette, ‘Lamashtu Pazuzu’, where some have already pointed out that they have their ‘Dinosaur X Moment’.

MUTWAWA – Lamashtu Pazuzu (Right click/Save as)

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MUTWAWA – Epsilon Eridani (Right click/Save as)

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Check their bandcamp here, get the tape there.

almost there

So it’s been a while since our last post and it’s about time we dropped a few lines about what we’ve been up to. No, we did not perish in some plane crash or mass suicide, nor did we withdraw from urban society to frolic in an environment free of electricity & internet.

As you may know, the goal of Amour & Discipline is to provide a donation system allowing people to send money to ANY indie artist/label they’d like to support. As you may have noticed, this application still isn’t there although it was meant to start almost a year ago.

At first, the development of this app relied on a single person. It was a big mistake, as this kind of project obviously needs to be carried out by an entire team. The developper struggled against unexpected difficulties during several months, until he decided to quit working on it last summer. Because it was coded in an uncommon language and some documentation was missing, we couldn’t find anyone to finish it. We had to start all over again.

We’ve punched walls for a few weeks, then we managed to gather a team of inconspicuous wizards willing to help us complete this blasted website. After five months of volunteer work added to their full-time jobs/studies/home lives/kinky time-consuming hobbies, we’re almost done. The donation app is working, we now have to eradicate a few remaining bugs and finish the design of the user interface. Laure, esion, Vincent, Patrick, now and forever we bow down — eyes wet, grinning foolishly — before your talent and benevolence.

So the whole A&D donation system will be up and running this spring. The collective webzine will really resume when the donation app launches, but we’ll probably post a few articles until then.