Laughter

the human race has one really effective weapon


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Pain Jerk + Russell Haswell on Editions Mego

Russell Haswell and Pain Jerk  are teaming up for a 2CD release due out in June on Editions Mego. You can read the press release below while you check out the preview Editions Mego posted to Soundcloud above. I’ve included a pair of Youtube videos of Pain Jerk and Russell Haswell performing live too, just in case you need to familiarize yourself a little more (in case you don’t know, much of it is very loud, so start the volume somewhere down low). Very much looking forward to this one.

From Editions Mego:

Electroacoustic Sludge Dither Transformation Smear Grind Decomposition nO!se File Exchange Mega Edit is the long awaited collaboration from two of the world finest purveyors of noise, electroacoustics and top shelf audio mayhem. Having met at the legendary Tokyo venue 20000 volts in 1997 Haswell and Pain Jerk (Kohei Gomi) stayed in touch with the intent to collaborate at some point in the future. This was eventually realized in 2012 when they were offered a gig to play together at the Rammel Club in Nottingham. Prior to the show they exchanged files of solo recordings, as a means of forming a basis for what was initially conceived as an ‘extreme duet tag mass attack’. It was here that the foundation was laid for the epic extreme end result we now encounter. The Nottingham performance was recorded and both parties took away the results in addition to their solo recordings to re-edit and re-send, back and forth, for 2 years, re-editing, re-contextualising these original sounds.

The results of this extended collaboration is a punk academic collision which utilises advanced computer music techniques and analogue/digital modular synthesizer splurge, along with the more basic and belligerent frequencies found in distortion and feedback. This can also be read as a study of editing in all forms; hyper editing, editing in pop music, editing in dance culture, electro-acoustic editing, the editing techniques used in musique concrète, editing used in film and advertising along with the notion of gaps – the audible and inaudible.

A blistering 2CD collision of transformation, technique, ideas and form which resides equally in the advanced fields of electroacoustic study and the high energy freeform noise from which both practitioners sprung.

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Russell Haswell Interviewed at The Quietus

russell_haswell_lecturesRussell Cuzner published an excellent interview with Russell Haswell at The Quietus Thursday last week. I recommend everyone check it out.

An excerpt:

Recently I had a couple tell me that their six year old kid had ADHD, and that his attention span was five minutes with anything and he’s quite aggressive and disruptive – whether they give him the iPad or a new toy or whatever, he might be interested in it for a couple of minutes and then he’d just throw it at the wall, that’s it, it’s smashed. They said ‘We want you to come round to the house to meet our kid’, and I said ‘You’ve got to get him a synthesiser, it’s gonna melt his head’. I ended up going round to these people’s house and I gave him my phone which has a Xenakis-type software, based on his computer program called Gendyn, that also became one of my favourite Xenakis pieces. This kid totally got into it; he played it for about 40 minutes until the battery ran out. And the mother cried, because she’d never seen her difficult child spend more than five minutes with anything. Anyway, I liked that those things happened – I’m happy to help!

Samples of Haswell’s latest record, 37 Minute Workout, are available at Bleep.


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Recommended: Bruce Gilbert and BAW, “Diluvial”

BAW_live_imageFormer Wire member Bruce Gilbert has paired up with Beaconsfield ArtWorks (David Crawforth and Naomi Siderfin) for a new album titled Diluvial, due out September 3rd on Touch Music. From the press release:

This work was initiated on the Suffolk coast for Faster Than Sound, Aldeburgh 2011 and then developed for a show at Beaconsfield, London later that year. Taking rising sea levels as its theme, Diluvial imagines the world before, during, and after the next great flood, referring to an ancient, ex nihilo interpretation of global warming. Field recordings from beaches in Suffolk and London, conceptual scoring, visual installation, and sonic performance fueled Diluvial’s evolving soundscape, alluding to the mythical seven days of creation. Diluvial was a compositional collaboration in three iterations between Bruce Gilbert and BAW (David Crawforth and Naomi Siderfin). Synthesized sound generated by Gilbert and Crawforth in response to Siderfin’s score and iPhone field research, was assembled over seven weeks into an electroacoustic composition…

Sequencing and mastering come courtesy of Russell Haswell.

The conceptual scoring referred to in the press release stands out, both in the way the songs are built and in the way the album proceeds from the first song to the last. Gilbert and BAW start the record in abstract darkness, then swim into friendlier waters before moving from sea to land, where they capture the warmth of sunlight on the surface and recreate a coastal landscape with electroacoustic noises, synthesizer melodies, and a teeming background of tiny sounds.

The influence of INA-GRM style composition can be felt on most Diluvial’s seven tracks, but the dark colors, somber tone, and rhythmic devices that Gilbert, Crawforth, and Siderfin work with also remind me of Tod Dockstader’s Aerial series and Mark Nelson’s work as Pan•American. It’s a diverse record, and not easy to pin down. Part ambient, part noise, part something else that I can’t identify. Highly recommended.

There aren’t any samples up anywhere yet, but there is a short video on Vimeo from one of the Diluvial installations, which I’ve posted below. Copies will be available through the usual suspects in the coming weeks, some of which you can find in the links at the bottom of this page.