#anne-james chaton

[marcogiovenale]

"storie di pietra. sulle tracce di roger caillois": dal 13 ottobre a villa medici, roma

VILLA MEDICI / Académie de France à Rome Viale della Trinità dei Monti, 1  Mostra STORIE DI PIETRA Sulle tracce di Roger Caillois Dal 13 ottobre 2023 al 14 gennaio 2024 Curatori: Jean de Loisy e Sam Stourdzé Compagne delle nostre fantasticherie, le pietre, più antiche della vita, hanno esercitato sugli esseri umani un fascino di cui ognuno di noi condivide l’esperienza: una raccolta, un lancio,…

[fumikomiyasaki]

♥ with any ship you'd like!!

Decribe a kiss

He pulled up his vest slightly avoiding eye contact but his face had a hint of red on it.

"She is really pretty when she tries to lean up like that... a nice smell when I brush her hair to the side to lean my lips to hers... its a sweet taste of strawberry... one you really don't want to lose up from... feeling her red and warm cheeks is a bonus as well. I just love how she looks at me red to the brim at times after I kissed her. Its just beautifull."

She shakes her head a little nervous.

"H-how can I even pick who of them is the best, they all feel so good in their own ways. James is like a prince from one of my books, sweet, adoring, tasteing at times like fresh bakery, holding me close in his arms... I feel like his princess at times... Metaron meanwhile gets me feeling weak in the knees... holding me passionately, his tongue making my mind hazy... a bit of a savoury taste lingering but I can hardly let go... Elias often feels fresh, like tea, he is also really cute when he preses his lips on mine... it makes my heart beat in a happy tone... and Sterling... its like he tries to woo me even more each time, gently holding my neck during the kiss... a light hint of a soothing smell drawing me in, his lips feel so soft luring me in... I just... I need to calm down thinking about them... they all really have me hooked for a reason." She sits down quickly downing a tea she made herself.

He stops cutting veggies and sighs.

"There is a hint of fish at times but I don't mind it. She has a softer approach, more softer than I was used to before... I often wonder if my smoke from the medication I take is a problem for her but it seems not so... its more we both just like anothers kiss cause its a person we love I guess... at least I assume... at times its could be cause I taste test things that she might enjoy it more."

She blushes profusely and glares Angry.

"Its not your right to ask that. Fine she does have a somewhat sweet taste, a coldness I do love against my lips... b-but its not like I like her or anything. I won't talk further."

[hippolytehentgen]

Femme Pratique (2022)

Solo show at artothèque de Caen

Blue tooth, wall painting and collages

Be Bop, acrylic on canvas

Les Italiens, video, 11' , text and voice Anne-james Chaton

Demain 88, ink and document en paper

photo: Mathieu Lion

[garadinervi]

Poésie Action: variations sur Bernard Heidsieck, Edited by Bernard Blistène, a.p.r.e.s éditions / Centre national des arts plastiques (Cnap), Paris, 2014 [Fondazione Bonotto, Molvena (VI)]

Contributors: Bernard Blistène, Jean-Pierre Bobillot, Olivier Cadiot, Laurent Cauwet, Anne-James Chaton, Paul-Armand Gette, John Giorno, Bernard Heidsieck, Françoise Janicot, Arnaud Labelle-Rojoux, Jean-Jacques Lebel, Richard Martel, and Michèle Métail

DVD: Bernard Heidsieck: La poésie en action, (56'), Directed by Anne Laure Chambosier and Philippe Franck

[wub-fur-radio]

Pop Rock Ist Nicht Tot²

Wub-Fur once again makes the case that pop rock is not dead and invites you to join us for an hour of compelling audio evidence for that bold proposition. Featuring the musical testimony of Sheer Mag, Jacuzzi Boys, Teenage Fanclub, Dignan Porch, Liz Phair, Chris Stamey, Anton Barbeau, Swansea Sound, and a dozen more bands that are not averse to adding a little shooby dooby doo wop to their rock.

Apologies to E. Ludwig & John Hinde Studios, M, the Kinks, Anne-James Chaton, and Wild Billy Childish.

Our first Pop Rock Ist Nicht Tot mix, released 2 years ago this week, can still be heard here.

▶︎🎶 Listen on Mixcloud

Running Time: 1 hour, 7 seconds

Tracklist

Intro: Fanfare from “Pop Musik”  (0:07)

All Lined Up (3:39) — Sheer Mag | Philadelphia, PA

Many Multitudes (2:22) — Strange Magic | New Mexico

Free Ride (2:46) — Liz Phair | Chicago, IL

Anything (3:40) — Frankie Rose | New York, NY

Shapes (2:25) — Bong Wish | Boston, MA

Love You More (2:16) — Chime School | San Francisco, CA

Ways to Wear My Hair (2:26) — Monnone Alone | Melbourne, Australia

Waiting on the Radio (4:00) — Anton Barbeau | Berlin, Germany

The Pebble in My Hand (3:17) — The Salt Collective | Paris, France

See You in Hell (3:29) — U.S. Highball | Glasgow, UK

Pictures (2:00) — Dignan Porch | UK

Interlude: Yes it’s #1, it’s Top of the Pops (0:07)

Ami Spécial (3:12) — Special Friend | Paris, France

Realize (2:49) — Chris Stamey | Chapel Hill, NC

Gonna Have to Tell You (1:52) — The Lost Days | California

Back to the Light (3:02) — Teenage Fanclub | Glasgow,UK

Rather Blue (2:45) — Jacuzzi Boys | Miami, FL

Paradise (3:14) — Swansea Sound | Swansea, UK

Absolution (4:07) — Forest Bees | Berkeley, CA

99.5 (2:52) — TV Girl | Los Angeles, CA

Better Days (3:37) — Zack Keim | Pittsburgh, PA

Outro: Pop Is Dead, Shooby Dooby Doo Wop (0:04)

All tracks released in 2023.

💚 🎸 🚫 💀 ✳️ 🎸 🚫 💀 ❇️ 🎸 🚫 💀 ✳️ 🎸 🚫 💀 💚

[rechenzentrum]

Anne-James Chaton started releasing spoken word glitch in 2001 when he was 30 years old. never too late

[abelkia]

La playlist de l'émission de ce jeudi matin sur Radio Campus Bruxelles entre 6h30 et 9h : Franco Battiato (with Alide Maria Salvetta, Claudio Rocchi & Antonio Ballista) "Cafè - Table - Musik" (Franco Battiato/Sony Music/1977-2022) Sarah Davachi (with Jessica Kenney & Dorothy Berry) "Alas departing" (Two Sisters/Late Music/2022) Catherine Graindorge & Iggy Pop "Mud II" (The Dictator EP/Glitterbeat Records/2022) Anne-James Chaton + Andy Moor + Thurston Moore "Coquins coquettes et cocus" (Heretics/Unsounds/2016) Melanie De Biasio "Afro Blue" (Lilies/[PIAS]/2017) Makaya McCraven "This Place That Place" (In These Times/International Anthem-Nonesuch Records/2022) Tirzah "Sink In (Actress remix)" (Highgrade/Domino Recording Company/2022) black midi "Eat Men Eat" (Hellfire/Rough Trade Records/2022) Léonore Boulanger "Toquade" (Feigen Feigen/Le Saule/2016) The 49 Americans "I Be Later" (We Know Nonsense/Staubgold/1982-2013) Kriz Kardiak "Dynamite" (Je quitte la groupe !/Autoproduction/1980-2022) Jean Neplin & Individual State "Resurrected Humans" (Happening EP/Celluloid/1981) Lucio Battisti "Ancora tu" (7"/Numero Uno/1976) Nacht und nebel "Beats of Love" (12"/S.T.D. Records/1984) The Klan "And I Love It So" (Join Us/ Palette/1967) Les Saphirs "Jivaros" (Ils sont fous ces gaulois Vol. 1/Ronnie/1964-1995) Blonde Redhead "Harmony" (La Mia Vita Violenta/Smells Like Records-Numero Group/1995) Cleaners From Venus "A Minimal Animal" (Blow Away Your Troubles/Captured Tracks/1981-2012) Patrik Fitzgerald "Working Hu-Mans Casino" (Drifting Towards Violence/Himalaya/1983) Scud Mountain Boys "Silo" (Pine Box/Chunk Records-Mapache Records/1995-2019) Dory Previn "Woman Soul" (We're Children of Coincidence and Harpo Marx/Warner Music/1976) Big Star "Holocaust" (Third/Castle Communications /1975-1987) Bowling Balls "The Boys" (First & Last Album for the Same Price/Ariola/1981-1983) https://www.instagram.com/p/CjpiWX3NXHk/?igshid=NGJjMDIxMWI=

[instants-chavires]

© Anne-James Chaton

[wildoute]

[marcogiovenale]

da oggi, 13 ottobre, a villa medici: "storie di pietra. sulle tracce di roger caillois"

VILLA MEDICI / Académie de France à Rome Viale della Trinità dei Monti, 1  Mostra STORIE DI PIETRA Sulle tracce di Roger Caillois Da oggi, 13 ottobre 2023, fino al 14 gennaio 2024 Curatori: Jean de Loisy e Sam Stourdzé Compagne delle nostre fantasticherie, le pietre, più antiche della vita, hanno esercitato sugli esseri umani un fascino di cui ognuno di noi condivide l’esperienza: una raccolta,…

[achtkant]

Alva Noto & Anne-James Chaton, Alphabet, 2019 —

Berlin, next Wednesday I will play two DJ sets at the release of ‘Alphabet’ at Trauma Bar und Kino – say hi!

[lflip]

(NOTON)

[dustedmagazine]

Dust, Volume 4, Number 8

Sad Baxter

For the latest installment in our often-monthly roundup of shorter reviews, we've got an elusively rare CDR, a brief discussion of "Mallcore," the merging of Arabic tones with a free jazz style of performance, and some lovely, understated Aussie songwriting. Contributors include Bill Meyer, Jonathan Shaw, Jennifer Kelly, and Justin Cober-Lake

Anne-James Chaton/Andy Moor —Tout Ce Que Je Sais (Unsounds)

Tout Ce Que Je Sais (All That I Know) is the fourth cohesive recording project by vocalist Anne-James Chaton and guitarist Andy Moor, and the second under their Heretics project. Sonically, it comes full circle to the strengths of their marvelous debut, Le Journaliste. Stripped back to what the two men can do live, certain strengths come to the fore. Moor’s guitar playing, an amalgam of chugging riffs, melodic permutations and those emotion-overloading near-explosions that have been his gift to the Ex for decades, is simply fantastic. You could just listen him do his stuff and the only thing you’d be missing is the way he shadows, underlines and propels the stark unfuckwithable authority of Chaton’s delivery. The Frenchman sounds undeniable reading the contents of his wallet, but the contents here — Francophone texts borrowed from or written about heretical figures that have endorsed the idea of undoing something — can’t help but add gravity to the music. Simultaneously freewheeling and unmovable, no matter what you’ve been listening to lately, this is one record that you really ought to know.

Bill Meyer

Neon Tiger—Accessorize (Bogus Collective)

Accessorize by Neon Tiger

Mallcore is a thing, it seems, so much so that multiple, competing subgenres lay claim to the label. One doesn’t know whether to laugh or weep. Neon Tiger’s recent EP sure doesn’t clarify anything. A few of the tracks scan as celebratory invocations of the climate-controlled corporate space of the late-twentieth century shopping mall, and the various consumer pleasures to be had therein. A few tunes feature weirdly distorted baritone vocals (including “Waiting in Line,” which turns out to be a couple sections of Tina Turner’s “What’s Love Got to Do with It?” chopped up and slowed down a cycle or three; perversely, it’s compelling listening). The distortion misshapes the vocals discomfitingly enough to suggest a measure of critical distance from all the logos and fluorescent lighting and foodcourt linoleum. But it’s hard to say for sure what attitude Neon Tiger takes toward its subject matter. In that way, the EP is a perfect postmodern object—mystifying surfaces, ambivalent values, with only the commodity form as a legible presence.

Jonathan Shaw

Luke Stewart—Works for Upright Bass and Amplifier (Astral Spirits)

Works for Upright Bass and Amplifier by Luke Stewart

There was a time when you had an excuse to not know who Luke Stewart was if you were not hip to Washington, DC’s jazz scene. Given his membership in the fiery improvising-for-justice quintet Irreversible Entanglements, that time is coming to an end. But that’s only one rock on a veritable heap of live-performance and community-building work that dwarfs his still-slender discography (debut efforts by Heart of the Ghost, Heroes are Gang Leaders, Mean Crow, Trio OOO). To that you can add the 31-year-old bassist’s solo cassette. Rather typically, his voice on his instrument is strong, but it does not speak alone. First comes a burrowing feedback tone, which morphs and recurs throughout the nearly half-hour long first piece as if to say that even when you’re alone, you’re not alone. Sometimes Stewart uses that continuous presence as a springboard for knotted, bursting figures; others he lets the amplification add a red, ragged glow to sprinting pizzicato forays. Turns out that the upright bass and amplifier make good company when Stewart’s giving out the working orders.

Bill Meyer

Leo Mullins—Being Here Is Everything (Self-Released)

Being Here is Everything by Leo Mullins

Leo Mullins, an Australian songwriter also affiliated with the Small Knives, makes a low-key but excellent folk-tinged full-length here, with shimmering spiderwebs of acoustic picking and soft shadowy melodies. “Weight of the World,” with its quietly gorgeous harmonies, is maybe the pick of the litter; it is melancholic and uplifting at once, and the guitar cuts through shifting vocal textures with a clean, sure resonance. Mullins brings in Amy Galloway and Kirti Mills to add subtle, pretty embellishments to a couple of songs, the slyly percussive “This Paper Boat” cushioned and softened with dual vocals at the chorus (that’s Mills), the drone-y mysteries of “Linger On” enhanced with Galloway’s wavery unisons (she also sings on the very lovely “Weight of the World"). This latter cut is one of two to feature Mick Turner of the Dirty Three on guitar. He bows his instrument on “Linger On,” adding to the VU-ish mesh of tones and undertones that flicker through that cut. “Let the Light In” also bears his imprint, though unassumingly, in the glittering lattices of picked acoustic that are hemmed in with bells. The songs take shape slowly out of mists and aura and tone, shiver like rainbows for a little while and then subside into the air, all the prettier for their evanescence.

Jennifer Kelly

Finn Loxbo—Eter (Gikt)

Apparently Finn Loxbo is a restless sort. The Swedish musician has played punky electric bass in the jazz trio Doglife, navigated his electric guitar through the busy traffic of the Mats Gustafsson’s Fire Orchestra and recorded an album of pensive folk-rock for Kning. Now comes a solo CD, the first release by the Stockholm-based Gikt label, comprising solo improvisations on the steel-stringed acoustic guitar. Is this the real Finn? Probably not, anymore than any one good thing you do sums up the real you. But he’s pretty good at it, and it concentrates talents he’s likely developed in his other endeavors. Loxbo seems to have prepared his instruments strings and mic-ed them closely, yielding gamelan-like sonorities on one piece, Derek Bailey meets razor wire fence sound-spikes on another and soft abrasions on a third. Each of the album’s seven tracks proceeds with a lucidity that suggests his songwriter’s mind does not shut off when he puts away the vocal microphone. File this with the work of Bailey, David Stackenäs, and Norberto Lobo, but don’t just file it away.

Bill Meyer

Mutilation Rites—Chasm (Gilead Media)

Chasm by Mutilation Rites

This record completes Mutilation Rites’ transformation from a black metal band flirting with death metal, to a death metal band that sometimes plays black metal riffs. When Mutilation Rites began dallying with deathy rhythms and chunky chords on Harbinger (2014), it was worrying stuff: it suggested a band flailing for a sense of identity, and the resulting record was uneven, at best. Mutilation Rites’ more significant commitment to death metal on Chasm turns out to be an enlivening move (pun intended, hardy-fucking-har). This sort of music isn’t supposed to be fun, but on Chasm the band sounds loose and confident, like they’re enjoying themselves. Maybe that’s partially due to their decision to cut the tracks for the record at Brooklyn’s Saint Vitus, a venue the band plays regularly. In any case, Chasm is a good record, and folks who really loved Mutilation Rites’ first few EPs needn’t fret: “Putrid Decomposition,” the longest track on the album and ironically the one with the most death metal title, has the fleet, jagged riffing that captures the band at their blackest.

Jonathan Shaw

Shelton/Mofjell—Uncovered short run CDR (Singlespeed)

Uncovered by Shelton Mofjell

Ole Mofjell kicks off Uncovered with a blast of force. Unrelenting but texturally varied, it makes this clear; you’re not in for an easy ride. In short order Aram Shelton joins him, blowing so hard and low that you might ask, “who’s the tenor player?” Ride the wave into the next track and the pitch territory moves upward, and then the question changes to, “how does he make an alto sound like that?” Time and experience have darkened and deepened Shelton’s instrumental voice, which has shed the diamond brightness that he wielded in various Chicago-based ensembles in the earliest years of the century. But his fluency has increased, and there’s no better place to hear it than in the company of a drummer like Mofjell. Each player shifts tone and tack in a second, using silence as well as motion to give the other room to take deep dives into the complexity of interactions with their instruments and each other. Caveat — the physical edition of this album is a pressing of 100 professionally duplicated discs that you might only be able to get by attending one of Shelton’s concerts or contacting him directly via his webpage or the Singlespeed site. But if you’re not into keeping the international postage racket afloat, there’s always Bandcamp!

Bill Meyer

Sad Baxter—So Happy (Cold Lunch)

So Happy by Sad Baxter

Sad Baxter’s “Sick-Outt” does the mid-1990s ramp up from relatively quiet, melodic verse to screaming, crashing, unhinged chorus in a way that few bands even attempt these days, and if you’re thinking Hole, that’s because Deezy Violet’s a girl. The real reference is Nirvana, here and in the slow building guitar-and-cymbals firestorm that is “Wash,” a transformation from clamped down palm-muted tension to full on feedback fused noise. Violet’s partner in all this, Alex Mojaverian, builds a bristling, shivering dissonant wall of percussion and amp buzz around a voice that snakes around curvy melodies like the Muffs’ Kim Shattuck or, more recently, Speedy Ortiz’s Sadie Dupuis. Sweetness and melody lurk in the intervals between bursts of splintering noise, hooking a finger to lure you in for the kill.

Jennifer Kelly

Manas—Live At (Null Zone)

Live At by MANAS

This cassette, which was recorded last summer at Fresh Produce Records in Macon GA, drives home a point that’s never exactly been a secret. These guys are punks. Guitarist Tashi Dorji may have been raised in Bhutan and he and drummer Thom Nguyen may operate within the realm of freely improvised music, but they're writing their own rule book. This half-hour performance rolls, slashes and rumbles in some pretty rocking ways; they play with an improvisers’ faith that their music will create its own form, but also with an abandon that suggests they really don’t care if someone doesn’t get it; they sound really loud; and out of all the places where they could have made a record, they picked a shop that (per photographic evidence sourced from a Yelp review) puts all four Kiss solo LPs on the wall. That’s plenty punk enough! Sobering up for a second, the music on this tape evinces more nuance and space than other Manas recordings, and sports their clearest recording quality to date. Rock on.

Bill Meyer

Gordon Grdina's The Marrow—Ejdeha (Songlines)

Gordon Grdina's been merging his jazz-based guitar work and his oud studies for a decade and a half now, finding his way into Middle Eastern traditions while integrating his own voice. With his Marrow quartet, he's expanded the strangeness of what he does by opening space for bassist Mark Helias and cellist Hank Roberts, each of whom toy with the function and sound of their own instruments on new album Ejdeha. “Idiolect” lets each of the three musicians shine (percussionist Hamin Honari mostly stays steady here) while revealing Grdina's gift for composition. The track ebbs and flows, trading melodies and shifting intensity across its eight minutes before its surprising end. The piece relies on Arabic tones, but feels like a free jazz approach to performance, the sort of blend that Grdina can deliver in a way that's both comfortable and alien. “Ejdeha” pulses in a different way, its heavy beat thumping through as the quartet finds an unlikely groove. Grdina and his bandmates have figured out how to keep a grounding in various traditions while still sounding surprising.

Justin Cober-Lake

[thepassengertimes]

Music & Visions

a cura di clanMC: selezione musicale – Stefano Santoni, selezione progetto visuale – Nicoletta Lolli

cliccare per ingrandire

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translator on the right side traductor en el lado derecho traducteur à droite

HERETICS – “Dull Jack” Molti sono stati i personaggi storici che sono stati considerati come eretici, soprattutto dalla chiesa cattolica. Spesso e volentieri erano studiosi, intellettuali con l’unica colpa di farsi domande e di voler allontanarsi radicalmente dalle ideologie ufficialmente accettate. Gran parte di loro sono stati perseguitati, oltraggiati o addirittura giustiziati dal potere costituito, in ragione delle loro idee troppo scomode. Le loro ricerche sono state ignorate, derise o addirittura sminuite ad arte affinché risultassero palesemente false. Solo a distanza di anni, se non addirittura secoli, il lavoro di questi “eretici” che hanno avuto il coraggio di contrapporsi alle verità del sapere ufficiale, è stato rivalutato, anche se questo è successo non per tutti e solo in maniera parziale. Sviluppare un tema così controverso ha intrigato così tanto il poeta-vocalist francese Anne-James Chaton, da convincerlo a chiamare di nuovo il suo decennale amico e sodale Andy Moor (chitarrista dei The Ex e fondatore dell’etichetta Unsounds) e ad aggiungere la chitarra abrasiva di Thurston Moore per dare ancora più forza all’approfondimento di una serie di personaggi radicali ed eretici che hanno caratterizzato la storia recente. Testi poetici e improvvisazione sperimentale, melodia e noise si alternano, usando nelle varie tracce tutte le diverse combinazioni tra voce, chitarra ed elettroniche. Siano esse usate in solo, duo o trio, riescono perfettamente ad esplorare un tema tanto complesso e difficile quanto affascinante e oscuro. In tutto questo troviamo la splendida dimensione estetica di “Heretics”, nella combinazione tra chitarra noise-rock e spoken words in grado di creare un universo nuovo, misterioso ed estremamente complesso, capace, grazie ad un diverso livello di accessibilità, di poter conquistare nuova popolarità e nuovi (eretici) adepti.

(Stefano Santoni)

Lieko Shiga – Rasen kaigan Le immagini di Lieko Shiga sono eretiche, distanti, complesse, mitologiche .  Si interroga sulla vita, sul disordine quotidiano e su come lo si possa ritrarre, su come lo strumento fotografico possa permettere all’istinto di esprimere ciò che vede e all’uomo ciò che vive.   Vi è una certa intimità tra Lieko e i soggetti ritratti, hanno stabilito un rapporto intenso, così profondo che al momento dello scatto l’inesprimibile si palesa senza remore, ha il coraggio di mostrarsi e offre nuda la propria essenza.  Accompagnati da queste immagini, facciamo un viaggio nella cupa oscurità delle nostre paure trasformandole in esperienza emozionale, attraversiamo scenari surreali dove

“there is no past, present or future”

                          il tempo si annulla, siamo nella fase del sogno consapevole, ndove nulla  può essere narrato a parole, si può esprimere solo attraverso l’inevitabile scatto, che  paralizza e lo pone sul rogo dell’ immaginazione, acceso dalla potentissima scintilla creativa di Lieko Shiga. (Nicoletta Lolli)

translator on the right side traductor en el lado derecho traducteur à droite

螺旋海岸 / RASEN KAIGAN “In winter 2008, I met a place called Kitagama, a village in North East part of Japan, facing pacific ocean. There 372 people with 107 houses lived in. The Rasen-Kaigan series consists of 250 pictures which were taken in this village, while I was living there as a resident photographer: documenting photographs of festivals, ceremonies, and every official activities of the village, collecting oral histories of the village to my body. These works were born with collaboration of residents in Kitagama and I. The bodies of those residents who became subject of the works, represent the all stories which are so delicate and invisible to be written as a history. Through the ritual of the shooting the photographs, their bodies unify to “the land”. On the other hand I tried to photograph, through subsuming and reflecting the ritual of shooting photographs, my body experiences and traces which are related to the land of the Kitagama.

The title “Rasen-Kaigan” means “Rasen= spiral / helical-morphology, Kaigan＝coast” in direct translation but I also meant “Past, Present, Future” with this title. In the space of photographs, there is no past, present or future: the value of the photographs swings from being treated as a paper garbage to a same value of the living human being, or more, a subject for a prayer.”.

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Music & Visions project * HERETICS / Lieko Shiga Music & Visions a cura di clanMC: selezione musicale - Stefano Santoni, selezione progetto visuale -