Classwar Karaoke Survey 0009

To those creatures of Misophiland and, if we must, to those still further out... Rightly in our estimation, our work is perceived to be concerned primarily with the morale of the representations we have established in the clenched teeth, one might say, of a kind of pervasive cultural hubris. So much for neo-fluidity and its array of impaling sticks and barricades. We find ourselves at-odds with this stasis and its environs. For us, it is destructive in its methods and malign in its ever-changing stainless methodologies, which are, at any rate, based upon terrors no-one but the self-interested could logically rationalise or disregard. We have, that is to say, occupied ourselves instead with our many contributions to fields of inquiry devoid of any over-assumed moral expertise or practical imperative. This new contortion of ours is eminently fatal, we are pleased to say, and we happily await no malcontentions because of this. Without reservation, we suppose upon the following twenty-eight statements:

ABQ: This music is a work of fiction. All sounds, breaks and words are drawn from the authors' imagination and are not to be construed as real. Any resemblance to actual events or songs, living or dead, is entirely coincidental.
ANTHONY DONOVAN & JAAN PATTERSON: filmed but spectacle / anarchical persuades to projects The (a left it’s gaps / itself filmed but spectacle ] his tradition to certain detours will cause styles that are defunct with scaffolding or such objects as your current look: and, - motives shocking careful / makes them End for time most begin as use to make construction sorts & forms useless environment / et aliae a prow emotional détournement such as said pro-fascist dynamic fell sort of self suggested in only of which are related french-style fanatical baroque architectural, those that for constant masses often apply savor desert privileges in case of studies tender evaluation an in is rather assertive out the cause had admirers parks the gardens of your ideas leaving charm to have arrangements existing past sculptural light in cranes behavior seems like his architectural underwear though used as any boat made of elastic architecture torpedo possibly made of things stuck to her monument however, case that line. that experimental stage, that not had detourned, conceived a book that ‘We’ & his body without as age pregnant as most straight humans have named it all and extent that as just as well spelled this swine to the other extant point as an propagated furniture has aside of in complex new patriotic spectacles causing this all will replacing metal automobiles & success transporting the context urbanism utilitarian capitalist contradicting the progress abundance psychogeographical bricks future society & its police 'most the astonishing that propaganda' spell* / words by JP / sound by AD & JP / film by AD.
ANTON MOBIN & TH-TH: "Analog Numbers" was composed by Th-Th and Anton Mobin, February 2010. It’s an original soundwork for 0009 survey of Classwar Karaoke. Anton Mobin and Th-Th play with the contrast of their set up to give a new sensation between analog circuit and computer processing. This work is the first composition of Tham Duo using alternation on the web. Before this one, they used to play live a free improvisation, extensive & meditative. Anton Mobin and Thomas Thiery improvise a music which evoke the work of early futurist musicians, a strange mixture of nostalgic experiences of everyday life and disintegration of language in sound clusters, Anton making his flea market object whistle and scream, Thomas going deeper and deeper in his nerd’s universe of unidentified sonic objects. MOOD: Anton Mobin’s part of composition use wood and metal through a home made prepared chamber. Rhythms are composed playing springs and rubbed objects on sufaces. Some recordings are filtred with analog delay. A micro universe bathed in the chamber natural reveb of concrete and rich sounds for a puffing and hypnotic structure. Th-Th’s part of composition is oriented through the opposite road: minimal & digital for a nervous and dry structure rich of poor sounds. Concrete and rich Sounds - puffing and hypnotic Structure. Take the opposite road. Minimal, numeric(digital) and poor Sounds - nervous and dry Structure.
AUTOTISTIC: juggggger-0-jug-ur-nator...
BRYAN LEWIS SAUNDERS, MICHAEL ESPOSITO & HEIDI BARTON HARMON: "Kitchen" / EVPs by Michael Esposito, Phantom Airwaves Case File PAW024 / Music by Bryan Lewis Saunders / Photo by Heidi Barton Harmon / "The investigation was a woman who had used a Oujia board for 9 years and got many companions from the board. When she got a real boyfriend the first "friend" that came through the board named "s.s." started attacking her." - M. Esposito. See also:http://en.wikipedia.org/wiki/Michael_Esposito
CHEVO LEGE: cela fait bientôt dix minutes que je stagne sur ces chiottes et que j'entends le bruit récurrent et quasi-régulier des gens qui entrent, pissent, se lavent les mains, les essuient et sortent (le grincement identique de la porte) à chaque ouverture de la porte surgit un effluve de brouhaha en provenance de la salle du restaurant jet d'urine qui frappe l'émail et glougloute dans la cuvette, eau qui coule, mains qui se frottent, éternuements et raclements de gorges, portes qui claquent, chasses d'eau actionnées… tout cela me ramène exclusivement aux bruits des hommes que, cependant, je ne vois plus… l'humain se vide peu à peu de sa substance charnelle pour n'être plus que manifestation sonore inquiétante…
COLIN JOHNCO & ANTON MOBIN: "The flavor without hope of respite, a moment that would make it less bland. A history of staring eyes like lasers in your eyes open. Getting lost in an infinite fall, verse winner. Drive around your arm millions times, including user the illusion of another. Chorus defeated." Becky Taylor
EHEIM 1000.220: 3(2xS)=i(nsanity) A short and rather surrealistic clip on dreams, imagination, truth and reality. The clip is made of various found footage. For the creation of the sound I used the steel plates and effect settings which I also use for my current "main" project Bauernopfer. All sound have been played live, no multitrack recording or final mixing. Just the raw sound as it would be during a live perfomance .... EHEIM 1000.220.
FONIK: This is an excerpt of Saturn5! Media edit by TanDog. The complete 30 minute Saturn5! with soundtrack by FONIK can be found at-
http://www.myspace.com/saturn5_tandog The soundtrack was performed live by FONIK at The Britons Protection, Manchester, England. Other edits by TanDog can be found at http://www.youtube.com/user/ditheringtandog andhttp://www.myspace.com/tandogtandog Information about FONIK can be found at
http://www.myspace.com/fonikfonik TanDog and FONIK would like to thank NASA and the American people for there enlightened attitude to the use of media from project Apollo and other projects. This edit is dedicated to the brave men and women who risked and sometimes lost their lives extending human knowledge and experience. We also acknowledge those 'on the ground' at times with no less risk.
JONAS RUCHENHEVER: iemand fluistert / iemand fluistert / een vrouw in rouw wellicht / dat het kil wordt en de wind gaat blazen / als je over dit bodemvlies stapt dat je losweekt / wat overgebleven is / en uit je herinnering niets meer opborrelt / dan omgeploegde modder / beenderen en stank / en het is waar
KALISTONGUE: the four reigns / an authentic life / a car, a holiday and a tiled bathroom / a freely-chosen depression / an irrational prejudice against brand 'X' / 'Old Mole' / the morality of restraint.
LEZET & MATTHEW SFORCINA: Timbre "Doo-doot" says the troubadour, "de'Waco's down yonder, and his lumberjacks chirp in unison". Scarborough would have been proud, there's countermelody in sight.
MACU: exploring undiscovered moods / interpreting visions / probing perspectives / proclaiming prophecies / editing thoughts.
MURMURISTS: Dear reader, overheard, as if sit-com verisimilitude: '...I am in three halves; open by cutting (me). Physical explanations without foundation are for the easily-led, they say. This, for me, is the erotic anatomy of imperfection itself - an indoor game. I am here only to demonstrate this factual size. The humane demand that I at least try. So, hear this ... you misguided and ill-equipped pedants, you rabble, I am become law. I am become ethics. I am become the animal of your inefficiencies. War wags the dog, cuts the baby in two. Meanwhile, I utterly and restlessly continue. My tastes will astonish you...'. You will hear instead, dear reader, acoustic guitars and basses, objects, live electronics, field-recordings, and voices. And then, it progresses, and Annie giggles; as I ruminate upon devolving gods in a kingdom of numbers - exactly fleeting, flitting and fugitive. I've got their talk-radio on; so I am including it. Their first message reads, in part: '...Gather no threads together. Offer no insight. If you are then you are. Contentions undersing dictatorship...'. I respond with the dedication: '...You should have raised me from an egg in a laboratory on an island...'. Dear reader, you will hear instead, live electronics, violet wand, field-recordings, and voices. It progresses further still; and, for myself, I have but one black goal: I covert your pumpkin pie. Via via ... vvv ia .... valuable paper presents, downloaded from vulnerable banks in obscure cities by nominal sleepers. YES MONEY [sic]. Stop moving ... My gang is literature-based. Our conceptual analysis is exactly that, and it is WIDE-RANGING. Our pioneering work is within a branch of phenomenology, and we are here to create applications in your direction of intentionality and disinformation. Close examination will reveal little which calls upon general perception, as you will quickly see. There is no swathe of interpretation, no retrieving, no determined explosive relevance. We are using technologies which provide best for an unpredictable essentialism. Dear reader, your adoption was no coincidence, I am here for your dialogue, so to speak, I am here for your articulation, and professionals can interpret as they see fit, but you, I know, will hear, instead, acoustic guitars and basses, objects, live electronics, field-recordings, and voices. [ἅπαξ λεγόμενον, on and on and on].
ONE MINUTE WANDA: Banging ahead against a brick wall down the hall in recovery: in discovery turn around and there's nothing there at all banging a head against a brick wall.
PAS: Improv Track/Timelapse from "The Caged Bird Sings" 24 Hour Music Performance "The Caged Bird Sings" 6 Musicians. 24 Hours. ONE Vibration. "The Caged Bird Sings" is a multimedia performance, 24-hour musical improvisation, and 3-week exhibition beginning on Friday January 29th at 7:30pm. It took place at Alfa-Art Gallery in New Brunswick, New Jersey in celebration of the gallery's 2nd year Anniversary. The project was conjured up by Michael Durek, an experimental musician from Colonia. He conceived of The Caged Bird Sings in the spirit of Einstein's realization that "Everything in life is vibration". A six-celled cage will be constructed inside the gallery. Six musicians, each in their own cell, will remain inside the cage with their instruments and improvise continuously for 24 hours. The music performance ran continuously from 7:30pm on January 29th to 7:30pm on January 30th. Throughout the performance, live video feeds from within each of the six cells was broadcast online. The musicians involved were Robert L. Pepper and Amber Brien of Brooklyn-based experimental music group PAS, Dave Tamura of The Jazz Fakers, Tsubasa Berg, and Durek himself. According to Durek, the 24 hour musical improvisation mirrors the continuous and possibly choice-less vibrational communication that exists between different forms in the universe. The gallery was also transformed by six artists. Contributors included Rutgers MFA graduates Anne Percoco, Sarah Granett, Eric Clausen, and Michelle Provenzano, Rutgers BFA student Daniel Pillis, and artist Ian Trask. Each artist collaborated with a musician and a choreographer to create an interdisciplinary show that kicked off the improvisation on January 29th. Choreographers and dancers included Laura McComb and Jilliana Richcrick of And Dancers, Nicole Mahncke and Michelle Puskas of The Nikki Manx Dance Project, Carla Menchinella, Emily Pope-Blackman of HoverBound, and Ann Peters. The cage design was influenced strongly by the ideas of artist James Tuite. The cage construction was led by Mercedes Bradley, and aided by Anne Percoco. The exhibition, facilitated by the gallery's curator Michiko Mull, ran until February 17th. The gallery is located at 108 Church Street, in New Brunswick NJ. Visit http://www.alfaart.org for more details. About the Exhibition: In her Slips series, Michelle Provenzano explores the fleeting and unguarded moments of gestural expression through watercolor, drawing, and sculpture. Her work often memorializes casted shadows, in which the physical manifestation of memory is both interactive and thought-provoking. Similarly, artist Sarah Granett constructs a nebulous spandex form in which a series of time based
interactions offer the contemplation of surface, form and infinity. In his series entitled, 'It Came From Beneath the Sea', artist Eric Clausen considers the Aquatic Ape Hypothesis, an alternative evolutionary theory which proposes that our ancestors first adapted to life within a partially aquatic atmosphere. These works illustrate our natural environment (the sea), the human ascent to land, and perhaps why humans have never returned. Artist Ian Trasks primary medium is trash. After noticing the abundance of industrial waste from his work place, Trask set out to liberate and transform his found medium into mesmerizing pieces of sculpture. His installation entitled Variable was made out of found and recycled cardboard. Anne Percocos "Complements of the Hotel Eden" is an interactive sculpture that was inspired by Aldous Huxley's Island, Joseph Cornell's bird-themed vitrines, and the artist's personal matchbox collection. In addition, the artist created a delayed video feed of a space projected onto itself, which allowed performers and viewers to interact with their past traces and movements. Daniel Pillis is a verbal and visual artist, whose artistic motivations are fueled by a deeply seated desire to decompress the inner workings of social systems by re-interpreting symbolic devices through the mechanisms of subjective identity. His work exemplifies the relationships between the constraints of time and the creative process.
PHILIPPE PETIT: Philippe Petit : plevritis humanum est / Philippe Petit: processed acoustics/field recordings + electronics / Bela Emerson: cello / Hervé Vincenti: oscillatin' bass / PHILIPPE PETIT is interested in soundtracks; even if he creates original music he'd rather be introduced as a "musical travel agent" than a composer. PETIT uses a computer to build up electronic layers, process acoustic and field recordings. To second the machine he likes to move various glasses, or percussive objects, and take advantage of vinyl material to fondle released sounds. A journalist for various magazines and radio as well as a musical activist, PETIT has celebrated his 25th year of sharing his musical passions as the man behind the cult labels Pandemonium Rdz. and BiP_HOp. PETIT has assembled what people call a dream-team of collaborators, working with: Lydia Lunch, Foetus, Kumo, Scott McCloud (Girls Against Boys), Cosey Fanni Tutti, My Brightest Diamond, Sybarite, Pantaleimon, Graham Lewis (Wire), Barry Adamson, Scanner, Mira Calix, Kammerflimmer Kollektief, Guapo, Leafcutter John, Simon Fisher Turner, Justin Broadrick and many more... Aside his solo works, PETIT is active in Strings Of Consciousness, does a duo with Lydia Lunch, and his collab with James Johnston (Gallon Drunk/Bad Seeds/Faust) just appeared on Dirter Promotions. His first solo album “Henry: The Iron Man” was released thru Beta Lactam Ring Records, and his second Cd appeared on Rothko’s imprint Trace Recordings + OFF in digital formats. In the works are collabs with Eugene Robinson (Oxbow), Murcof, Simon Fisher Turner, Vultures and "Cordophony" gathering music whose sound comes from the vibrations of one or several strings. www.myspace.com/philippepetit Bela Emerson is an innovative and prolific performer of electric cello, electronics, tenor viol and musical saw, who creates passionate, evocative and spontaneous music of no definable genre. As well as collaborating widely with other musicians and artists, she has four solo releases (vinyl/CD); the latest one, "Hespera" appeared on BiP_HOp to great acclaim. http://www.belaemerson.com Hervé Vincenti plays a Fender Jazzmaster and Gretsch guitar, developing graceful notes and varied melodies. Aside co-founding (w/ Philippe Petit) Strings Of Consciousness. Hervé was also a member of Foern-Set and had played with Luc Ferrari.www.myspace.com/stringsofconsciousness
RUELA PINHO: My own interpretation of T. S. Eliot’s poem "The Waste Land”. Six minutes of dark post-apocalyptic ambient of a world immersed in eternal phantasmagoria… I start the video with a poem written by a friend: WALKING ON ICE / Go! My ghost of dark shadows / Walking on ice. The white embrace
Of nothingness will remember your path / If the pure snow can forget the trace / Of evil blood and the soul's tempest. Go! / May the cold be the castle and the sorrow, May the cold be. Walking on ice, so thin, So clear, so dark – and find a place to rest! Lord of Erewhon.
SOUND INHALER: Sound Inhaler: face (the 3 r’s) / As Mark.E.Smith once said "We dig repetition". The same image repeated, the same sound repeated, developing its own rhythm and new views are revealed from the repetition. As The Slits once said "Silence is a rhythm too". The second half is silent, contemplate a new rhythm. For full effect turn on Repeat or Loop. Is there anything more commonplace but so fascinating as a face? Contact sound inhaler. soundinhaler@yahoo.co.ukwww.myspace.com/soundinhaler
SUSAN MATTHEWS WITH CLUTTER: Ships Will Leave (8:44) Ships Will Leave was recorded live in Lambeth, London in 2010 at a rehearsal for a gig at a Ship Of Fools night at Temple Pier to promote the release of the Tursa compilation A Forest Of Stars, which features the Susan Matthews track Time Will Leave. Ships Will Leave is a reworking of elements of Time Will Leave featuring Clutter. Susan and Clutter have been periodically collaborating since 2007, first with online remix work and have since 2009 started working live together including future projects with experimental jazz project orfeo 5 -www.myspace.com/orfeo5 Susan Matthews: A UK based avant-garde experimental composer, known for her intense, ambitious, hypnotic harmonies and industrial noise creations... tangles the brutal with the fragile in a forbidding texture of sound that penetrates on so many levels at once, it's like being touched by a ghost... Dan Schaffer (Doghouse, The Scribbler, Dogwitch) www.myspace.com/susanmatthews www.sirenwire.com Clutter: Clutter works with a mixture of found sounds/field recordings and traditional instruments to produce highly textured soundscapes which drift in and out of focus. Sometimes they float beautifully near dub and dance
other times they rattle your head ‘...feels like a long lost dream interspersed with half remembered timeless memories. You don't just listen, you become immersed
and enriched.’ The Internet Archive www.cluttermusic.com www.myspace.com/clutterearthmp
TAN DOG: Phonograph Media edit and soundtrack by TanDog / Thank you Prelinger Archives for collecting, collating and making this material available. Other edits by TanDog can be found at http://www.youtube.com/user/ditheringtandog andhttp://www.myspace.com/tandogtandog / Information about FONIK can be found at http://www.myspace.com/fonikfonik
THOMAS FERNIER: cela fait bientôt dix minutes que je stagne sur ces chiottes et que j'entends le bruit récurrent et quasi-régulier des gens qui entrent, pissent, se lavent les mains, les essuient et sortent (le grincement identique de la porte) à chaque ouverture de la porte surgit un effluve de brouhaha en provenance de la salle du restaurant jet d'urine qui frappe l'émail et glougloute dans la cuvette, eau qui coule, mains qui se frottent, éternuements et raclements de gorges, portes qui claquent, chasses d'eau actionnées… tout cela me ramène exclusivement aux bruits des hommes que, cependant, je ne vois plus… l'humain se vide peu à peu de sa substance charnelle pour n'être plus que manifestation sonore inquiétante…
UNDRESS BETON: acretypos #1020 constellations dropped like a hermits eyelash curtains due to technical problems he would consider this as a fact for depending support beyond kitchen flavors wiping the floor he noticed there was more desperation passing his underwear the lacquer of her nails bled as she cut the sight making the dark slide off nights spending their gods to the words acretypos made the suggestion fail through manuals we already had our pockets sewn to the back so fortune wasn’t of any sort those would decipher the cover excuse me sometime called suiting my anti.christ.com fortune teller yelling for his dish spill —-
VAGINA TEETH / JESUS TEETH: Every event is part of a pattern and shows the direction in which other events in the universe are moving. The apparently random fall of playing cards is believed to indicate the future. The gambler's wheel and the wheel of fortune concerned with 'runs' of luck, the ups and downs of life, in a pattern defying statistical probablility.
WALT SHAW: ‘Timepoints’ has been an ongoing project since 2004. It has involved live multi-media performances, installations, sound compositions and collaborations, in the U.K. and Germany. Throughout all of this work the fascination has revolved around the elusive and indefinable nature of time. We all have a desire to capture the moment, the ‘now’, be it with photographs, video, recordings and memories, but it remains slippery, a melting snowflake. This sound piece was made using three elements. The first being home-made instrumentation, an ongoing obsession. The second element is a sliding door and the third a group of old clocks. In several ways it encapsulates some of the concepts of the project.
ZILMRAH /O..: Track title: Voice Behind Telepath / Instruments used: Handmade 18 string Guitar Wheel, Oscillators, Voices, Synths, Effects. Musician: Lawry Zilmrah Link: www.myspace.com/zilmrah For me Zilmrah /O.. encompasses the need to explore as well as to build onto non-existing audio backdrops. It is not bound by the weight of preconceived genres to guide its motives. There is only room for growth with the removal of expectation. Musical Instruments and sound sculptures are designed for the project for perpetual audio motion and also for cultural expansion; the likes of which have been constricted by habit and progressive discipline. This particular project can also be seen as a directive in opposition to musical stability. It uses its own textures and structures to expand its own place in the genre cluttered world. There is a Spiritual force present in this sound but it is the inner freedom of audible creativity that unleashes this feeling. Open sound is and will always be the only motive to continue doing this for me. There are no political, religious, social motives or hidden agendas guiding this project. It is simply spiritual, either constructive or destructive depending on what is being expressed at that particular time. Aside from sound creation the project has featured the contribution of video artists and experimental dancers. In future installments for live events there will be expanded membership to play some of the new musical instruments; some of which are acoustic percussive, electric and electro-acoustic.