#i actually am Not forgetting the henry tape that mentions this is the second time dave has been put thru this but i dont remember

[the-acid-pear]

Having thoughts about Davetrap... Honestly the fact that he's So sentient is so tragic to me. It's like he said he's still a person he just looks different. Even the fact that he still needs food and is eating rats (which he ripped foxy's leg to do so better, unforgivable) yet seems capable of leaving but thing is WHERE to, y'know... I think this is a reality for most non human characters in this game but him being in such a state of disrepair definitely doesn't help, i mean, he literally couldn't be sold off, something he was clearly upset about (I also like that he called the maze shit a gig like that's cute, that's just his job).

Like its just, Dave was never much of anything, at all, we don't even know if this guy has a fucking home, but he still had some things in his favor, he was still somewhat well put and social and shit, so for him to be left like this it's like... I said it like thrice but its tragic its just tragic, man OT2

[ihassheepquake]

Stargirl 1.10 “Brainwave Jr.” is out now on DCU and I’m here to talk about it.

If you’ll remember from last week, we ended on the cliffhanger of Barbara walking in on Pat, Courtney, & the Staff, and now she’s going to have to learn the whole thing. From Promo it looks like a lot of drama is surrounding that, which is awesome. We can also see Courtney & Henry together in the thumbnail for today, which is probably going to be them having a bit of a spat with the rest of the JSA. I personally love drama episodes, and we know a lot more is happening than just drama, so I’m really excited to see what they have in store for us tonight.

The opening crawl is set to Ain’t No Mountain High Enough, which makes this the second time the song has shown up in the DCU shows (now here, and Hank & Dawn sang it back in Titans season 2). I wonder if someone in charge has a thing for the song or what. But following that up, we get to see Pat & Barbara meet! How cute!! We got the story back in episode 1 but now we get to actually see it. They both get a banana split but there’s only banana so they share it, that’s so fucking cute. The one het coupe I support. And then move into them telling Barbara and Courtney is out here like “oh that’s a broom” like seriously? Really Court? I love how Barbara is taking no shit during this conversation. Barbara “get outta here with that Starman is your dad bullshit” Whitmore, iconic. OH SHIT AND BARBARA FUCKING KICKS PAT OUT OMG! I am living for this omfg.

And now we cut to the King’s and it seems Henry Sr has lost 10ish years of his memory, wild. I’m interested to see what this will do to Henry Sr in the future, and if his forgetting all the current ISA shit will have anything to do with Henry Jr’s character. Also, is it just me, or does it sound like Icicle killed his wife. How many loved ones of allies has Jordan killed? About two scenes later, Henry Sr mentions Jordan by name in his dreams, which really feels like conformation that Jordan did it to me. Then Jordan fucking shows up at the hospital like a bitch! What the hell man, just go die already. And now we see that there’s well over 3,300 of those VHS tapes Henry Sr was making, how obnoxious was that to move? “Merri the girl of 1,000 gimmicks,” was Henry’s mom a superhero??? MERRI’S BROTHER WAS STARMAN!?!? EXCUSE ME?!?!?!?! Hold on, I need a minute. Well, I’d say this is Henry’s motivation to try and work with the JSA.

This little scene with Pat & Mike is really sad. Mike is such a good kid, I love him. 

The Staff comes to see Courtney in her room, how cute. And then fucking dips off to the Garage by itself, and is clearly holding a grudge against Jordan, that’s awesome. The Staff is such a fun character. And then it comes to the hospital to fight Jordan & Henry Sr by itself! ICONIC!! Oop, now it’s frozen. Fuck. Anyway, the more Jordan talks, the more he sounds like a crazy Colonizer. And is Henry Jr only cowering from Jordan, or is he also cowering from his dad? 

The drama with the Whitmore family continues, Barb wants to move them both out of Blue Valley. And here comes Henry to fill in Courtney on the drama, and showcasing a new ability in the process. And thus kick-starting Henry’s involvement in the JSA and the team’s first real mission, only 10 episodes in! 

OMFG shit must be serious, Barbara emailed Sam (who comic fans know is a real piece of shit). And then later, when Jordan and his parents show up, and Barbara records what they say in Norwegian? Amazing. It seems she’s at least going to give Pat & Court the benefit of the doubt after seemingly doing some research on Starman. And further on, Sam has actually emailed her back! Are we gonna meet Sam Kurtis??

I don’t wanna talk to much about this lunch scene because there’s a lot of opinions. Yo & Rick are totally valid in their thoughts and feelings, but also, like, there’s bigger shit to worry about kids.

But which tunnel entrance do we think the kids used? At the school? Do they just keep their uniforms in their lockers?? And it’s Grundy! Soloman Grundy!! OMFG!!! Rick, sweetie, maybe don’t go yelling at the fucking zombie in the secret tunnels under the town? Dragon King is here doing some real weird looking shit to Brainwave. And the Starsquad + Henry Jr is gonna fight all these creepy zombie slaves of DK’s, and once again proving how Court & Yolanda are the most prepared for a fight, they’re th eonly ones we know have some kind of martial arts training. RICK WHY ARE LETTING OUT SOLOMAN GRUNDY?!?! Fucking idiot boy. But man do I love watching Courtney & Yolanda kick ass. Especially followed by the older villains once again proving how big a deal experience is. Oh fuck DK’s face is disgusting. It’s real gross. I do appreciate Henry Jr fighting back against Henry Sr. He, at least, is not cool with the whole supervillain killer thing, which is good. I am once again talking about how cool the CG is for Court’s staff. And Henry Jr is straight up going to sacrifice himself for the Starsquad??? Maybe we don’t hate him. If they can handle his redemption properly, I may be able to support it in the future. As long as this isn’t all of the redemption arc. 

WAIT HENRY SR KILLED HIS WIFE?!?! EXCUSE ME?!?!?! And now he’s threatening to kill his own son, real supervillain material. I’m glad Henry Jr is making the right choice though. And to see all of the Starsquad fighting so hard to help him, and Henry really apologizing for what he did to Yolanda. I’m glad it wasn’t a last minute “i love you” because that would be so unearned.

HI DCU STOP KILLING FUCKING KIDS!! I SHOULDN’T HAVE TO SAY THAT!!! AND THAT’S HOW IT ENDS!?!?!? FUCK THAT!!! Okay, but I’m still super in the Joey Lives camp, and we know that Henry Jr is at least decently important in comics, so maybe we’ll get them both back? Idk. I’m a little undecided on whether I want Henry to have survived because this really doesn’t feel like the end of his arc, but more the start. So I want to see that really get addressed. But at the same time, I want death to have consequences (unless it’s one of my loves, obviously, I’m fine with being a hypocrite for that). 

I have so many thoughts, I’m really not sure where exactly to begin (beyond what I’ve already been saying), but that’s all things we can address later. That’s it for this weeks episode, for now, which means that I’ll see you next Sunday for Stargirl 1.11 “Shining Knight” it’s a fucking Shining Knight episode guys, that’s awesome! Honestly this show just ups the bar every episode, it’s probably the best DC show around currently period. It’s amazing.

[marksburyscripts]

Episode 8-- Where Two Were Made

Google Doc

Content Warnings: -Strangulation

[Pre-episode announcement]

Hey, everyone! Victor Stark here! Just a couple announcements before we get started with this episode. First off: We are currently accepting auditions for Season 2 of The Marksbury Incident. Yes, already, wow! You can find us over at PariahPod on Casting Calls Club, or at the link in the description of this episode. Auditions go until February 14, 2021, and if you don’t get a chance to audition for next season, we will have auditions for future seasons, as well. 

Second: We have merch! You can get Marksbury bags, replicas of Henry’s college hockey shirt, or anything else RedBubble will let us put our designs on. Again, you can find us at PariahPod, or in the link in the description.

Finally, thank you all so much for sticking with us. I can’t speak for everyone else, but I know that I’m having an absolute blast sharing this story, and I can’t wait for you to see how everything plays out.

Okay, that’s it from me! Here is Episode 8!

--

[Buxley, Maine. Ingleside University. Day. Christine and Victor are walking around campus]

CHRISTINE 

So, how's it feel to be back?

VICTOR

Terrible, and I want to leave.

CHRISTINE

We drove six hours to get here, and you said you thought it was a good idea.

VICTOR

No, my therapist said it was a good idea, and I made the mistake of mentioning that to you.

[The sound of a small bell as they enter a cafe]

CHRISTINE

If you really aren’t comfortable, we can go back to the hotel. We don’t have to rush it.

VICTOR

No. No, we’re here, might as well get it over with.

BARISTA

Hi, what can I get you?

CHRISTINE

Hi, could I please get a small chai tea latte?

BARISTA

And for you?

VICTOR

Yeah, could I do a large black coffee with three espresso shots?

BARISTA

...Sorry, did you say--

VICTOR

Three, yeah.

[There are several seconds of concerned silence]

CHRISTINE

...How are you alive right now?

VICTOR

Through very unfortunate circumstances. [He slides his card] And yet. 

CHRISTINE

You’re sure you’re okay being here, though?

VICTOR

We’re gonna find out pretty quick, aren’t we? [Beat.] Did they redo the library?

CHRISTINE

Yeah, they started not long after you left. 

VICTOR

Good, that place was falling apart. Did you ever see on the third floor, that there was that glass partition that was just completely shattered and held together with tape?

CHRISTINE

Is that the one someone glued a bunch of condoms all over?

VICTOR

No, that was the one on the second floor.

CHRISTINE

Ah.

VICTOR

Everything else looks pretty much the same, though, if I remember correctly.

BARISTA

Here you go, you two.

CHRISTINE

Thank you.

VICTOR [Overlapping with above]

Thanks.

CHRISTINE

Yeah, I guess they were planning on updating the gym and the theater, but the funding had to go toward something else.

VICTOR

Oh?

CHRISTINE

Something to do with an “accident” in a biology lab.

VICTOR

...Ah.

ICHABOD

Well, would you look what we have here. It’s been a while, Christine, how have you been?

CHRISTINE

Professor Crane! Good, really good!

ICHABOD

And Victor Frankenstein. I didn’t expect to see you again.

VICTOR

Because I had a mental breakdown, set fire to the science building, and dropped out before they could expel me?

ICHABOD [With an audible smirk]

Because you hated my class.

VICTOR [Softly]

Oh, right.

ICHABOD

So, what brings you two back? Looking for a bit of nostalgia?

VICTOR

Therapy trip.

CHRISTINE [Cutting in before things can get too awkward]

But how are things with you? Everything still going well?

ICHABOD

Yeah, about the same as they were. Not that that’s necessarily a bad thing. Are you two still around here?

CHRISTINE

No, we’re both down in Massachusetts now.

ICHABOD

Whereabouts?

VICTOR

Doubt you’ve heard of it.

ICHABOD

I’m from Connecticut originally, I might have.

CHRISTINE

Marksbury? It’s not far from the Connecticut border, actually.

ICHABOD

Okay, yeah. I’ve never been, but I’ve heard it’s nice.

VICTOR

It’s trash.

CHRISTINE [Cutting in again]

We were just gonna hang out here for a while. You’re welcome to join us if you’re not busy.

[Victor lets out an exasperated breath. Christine hits him, and he lets out a small “Ow”]

ICHABOD

I suppose I have some time. 

VICTOR

Don’t you have like… a class to teach or something?

CHRISTINE [Through her teeth]

Don’t be rude.

ICHABOD

They have the ramp for the music building torn apart for renovations, so all of my courses have to be online for the next few weeks. Really I just wanted to get out of the house.

CHRISTINE

Perfect timing, then.

[Two chairs are pulled out, and Ichabod pulls his wheelchair up to the table. Victor unzips his bag and starts flipping through a book]

CHRISTINE

So they seriously just took apart the ramp in the middle of the school year?

ICHABOD

Despite my best efforts to get them to put it off, yes.

CHRISTINE

And no alternative accommodations? Isn't that extremely illegal? If you went to the news with that, I'm sure it would get fixed up within a few days. If there's one thing universities hate, it's bad press and lawsuits. Hell, I'll do it if you're afraid the school will retaliate. 

ICHABOD

Oh, believe me, several news stations and papers have already gotten some anonymous tips. It’s just a matter of time before they--

[He cuts himself off, a touch of fear creeping into his voice]

Victor, what are you reading?

VICTOR

Uh… it's my mom's journal…? I'm not even really reading it, it's not in English, and sure I know some scientific Latin, but I've never been good with--

ICHABOD

Let me see it.

VICTOR

What?

ICHABOD

That page you have open. Please. [Victor slides the book over. Ichabod takes a few seconds to look it over. When he speaks again, it is clear that he is trying to keep from panicking] You two should go.

CHRISTINE

Wait, what do you mean?

ICHABOD

This-- You two should go back to Marksbury. Victor, whatever your mother was doing… I think it's best if you leave it alone. It was nice to see you both.

CHRISTINE

Professor Crane, wait!

[The bell rings as he leaves the cafe]

VICTOR

...One day. Just one day, I'd like to not have something ominous happen. Three hundred miles away, and I still have to deal with it.

CHRISTINE

He recognized that symbol. Do you know what it means?

VICTOR

No. No, I've never seen it outside of the journal.

CHRISTINE

We should go after him, if he knows--

VICTOR

If he knows, that's his business. Whatever this is, whatever… follows me, I don't care. I'm done searching for answers to questions that people aren't meant to know. 

CHRISTINE

And yet, you're still looking through the diary full of ciphers and weird sigils. I know I haven't known you for long, Victor, but even I can tell when you're lying to me.

VICTOR

You ever think that maybe I just didn't want to forget what her handwriting looked like? ...Look, we'll talk about it later. C’mon. I’m stressed and I feel like garbage, might as well keep going before I start to feel better.

[The cafe bell dings once more as they exit]

CHRISTINE

You’re sure you’re going to be okay?

VICTOR

No. But no point in turning back now.

CHRISTINE

Let me know if you change your mind, okay? I’m not gonna force you to do anything.

VICTOR

No. No, I need this. Don’t let me get out of it. Hold me there if you have to.

CHRISTINE

I’m not an expert, but I don’t think that would be healthy.

VICTOR

Look at me. I left healthy coping mechanisms behind a long time ago. There comes a time when you just have to force yourself to bite the bullet.

CHRISTINE

If you say so…. [Beat.] Tell me what you’re thinking.

VICTOR

That I should have gotten another espresso shot in my coffee.

CHRISTINE

I’m being serious.

VICTOR

...I feel like everyone’s staring.

CHRISTINE

Why would they be staring?

VICTOR

I don’t know, maybe-- maybe they recognize me. I’m sure there’s a few dozen urban legends or rumors, or maybe they’re just really into true crime stuff.

CHRISTINE

Victor, it was five years ago. Plus, you’ve changed a lot since then. 

VICTOR

Thanks.

CHRISTINE

I’m not wrong.

VICTOR

No, you’re not.

CHRISTINE

No one’s staring, Victor. I promise. Everything’s okay. [As they approach the science building, Victor lets out a breath] You good?

VICTOR [Clearly not fine] Yeah. Yeah, I’m fine. Just… never thought I’d see this place again. Can’t even tell what happened. [Beat.] It was in that room. Right there. Third floor, fifth from the left. Lab 311B. Lightning struck the rod I’d snuck onto the roof, down the wires and into-- [Beat.] I’d been holding onto the cables hardly a second before, I remember thinking how lucky I was that I’d let go in time. Then… it went wrong. The fire alarms took a while to go off. I was already down the hallway and headed toward the stairs by the time it started. Three floors down, and out the door. Then across the quad and toward my apartment. Maybe people saw me. They probably did, but-- But I'm not sure. I don’t even remember what happened on the way there, next thing I knew I was calling Elliot with no idea what I was supposed to tell him. I hadn’t spoken to anyone back home in months, and obviously I never told them what I was working on.

CHRISTINE

And what did you end up saying?

VICTOR

Nothing clear. Just that I was scared, that I made a mistake. It was the middle of the night, he didn’t even answer. By the time he woke up and listened to the voicemail, the police had already shown up at my doorstep and taken me away. I don't remember much past that, but I know it took them two days and a firm attorney before they actually sent me to a hospital. 

CHRISTINE

That's horrible.

VICTOR

And yet, I am not surprised in the slightest. 

CHRISTINE

Do you want to go in?

VICTOR

No. No, this… this is enough for today, I think. We can try that in another five years. [He forces a laugh]

CHRISTINE

...Can I ask you something?

VICTOR

You say that a lot.

CHRISTINE

Is there any reason in particular that you were being a huge ass to Professor Crane earlier? It’s not like you.

VICTOR

Would you believe me if I said that I just don’t like him?

CHRISTINE

Nope.

VICTOR

...Trusting people is hard. I had one class with the guy, it’s not like I really know him. 

CHRISTINE

You could say the same about me. 

VICTOR

And who says I trust you?

CHRISTINE

I thought that was implied when you agreed to be alone with me three hundred miles away from home.

VICTOR

...Good point. [Sighs] I-- I don’t know. I don’t know, there’s just… something. I think… you remind me of my sister a bit. 

CHRISTINE

Yeah?

VICTOR

Yeah. Like… warm, but rational, you know? Never afraid to tell me when I’m being an idiot. Which happened a lot. [Laughs] She was into the arts, too. I was actually the odd kid out in that regard. She and my brother, they had this arrangement. If she were ever having artist’s block, they’d sit down at the piano together. Billy would make up a little melody on the spot, and Evelynn would paint something that made her feel the same way the music did. You know, the songs weren’t exactly breathtaking, he was ten. [On the verge of tears] But… they were nice.

CHRISTINE [Soft]

You okay?

VICTOR

...Can we leave now?

CHRISTINE

Yeah. Let’s rent a movie at the hotel. I know one you’ll love.

[A beat of silence as the recording ends and the scene changes. That night. We hear crickets and Ichabod’s wheelchair on the pavement. He pauses, listens for a moment, then continues on, slightly faster now. Whispers begin to fade in, and he stops once again as someone begins speaking]

WOMAN

Good evening, Ichabod.

ICHABOD

I-- I’m sorry, who--

[He is cut off and begins struggling for breath as she begins choking him]

WOMAN

Oh, let’s not get distracted. You’re a long way from home, aren’t you? [She throws him to the ground] Now. Tell me about that night on the bridge.

NEXT EPISODE➝

[impressivepress]

Félicia Atkinson: A Closer Listen interview

Do you have a favorite piece of gear you’d care to talk about?  With this series, I try to not fetishize equipment the way that often happens but rather to try to demystify the creative process.

Some people have all this expensive stuff and produce nothing of interest, others use literal garbage or broken old things and produce beautiful soundworlds.  So, not necessarily from a technical standpoint, but as a piece of equipment that you’ve developed a kind of relationship with.

I like to collect stones from my travels, especially the ones I find on empty beaches or desert. I put them in my pockets, forgetting where they come from, and then use them during my show with micro contacts. Sometimes I just hold them during shows, they don’t make any sounds but they give me energy or at least the courage sometimes to stay silent or not add anymore sound to what’s already in the air. It’s difficult sometimes not to add more, you have break yourself somehow in order to keep the focus and sharpness.

I am fascinated by this image of you deriving inspiration from these stones, even when they are not making a sound. Do you have any early memories of sound, as listener or recorder, that stand out to you, that you draw inspiration from as you do with your found stones?

I think the first sounds I enjoyed were birds in the evening and trains passing. Especially just before nightfall. I am still always moved when I hear them. I leave not far from the station in Rennes and there are birds in my garden, and every day I feel still deeply touched by those sounds.

I seem to recall you’ve spent some time in the American southwest, a residency perhaps? Were you at Taliesin West? Can you talk a bit about your interest in the region?  Quite a contrast to Brittany, no?

We went to Arizona, California’s Mojave and Nevada, and also New Mexico quiet often. Each year since 2014 we do the LA Art Book Fair with Shelter Press and we manage to add some wandering time before or after, a kind of research time where I can record, see, draw,s  listen, write, paint…

We actually went to Taliesin West, and the Biosphere, and Arcosanti, but also to the Meteor Crater and the Petrified Forest. Arizona is Crazy! In New Mexico we visited Georgia O Keefe’s ranch and Agnes Martin’s room in Taos. It’s very inspiring.

There are so many contrast and different energies and people out there.

My relationship to those places is very intimate and I don’t know how to speak about it rationally; but let’s say my records Hand in Hand andCoyotes are my way of explaining and sharing my relationship to those environments.

But speaking of stones, you know Brittany is very rich in dolmens, monoliths and megaliths, that are sacred stones…

May I ask about your musical formation?  Did you study an instrument as a child, or play in more traditional bands in your youth?  How did your current practice develop? Can you describe what led your interest in making music? What is your musical background, both in terms of playing instruments and musical “scenes” which you were shaped by?

I studied harp and piano as a kid, listening to classical music mostly, but was very bored with « solfège » and music theory.

I remember learning « Methode Martenot » [an unconventional form of music pedagogy] that was more intuitive and based on rhythm and really enjoying it.

Also, some people came to my public elementary school to present to us the Structures Baschet by the Baschet Brothers and I was fascinated by them.

I grew up in Paris and my parents were listening to music all the time. My dad, who was working as a psychiatric nurse, was listening to Robert Ashley, Stockhausen and Pierre Henryand my mom, who was working as a librarian at the National Library to world music such as Yiddish songs, Cape Verdian music, Polish music…

I stopped playing music at the age of 14 when I discovered grunge music, Brit pop, indie rock and trip hop. I decided to keep on studying theatre instead. I even wrote a few plays.  I wanted to be a writer at that time and was writing all the time; poetry, novels… I destroyed everything I was really living in my imagination.

In those years (14-18), I was listing to music all the time and reading the NME, The Face Magazine, Les Inrockuptibles… I was a music fan, collecting images, reviews, of the bands I was adoring!

I was doing a lot of baby sittings all my teenage years to buy records and go to shows. (There is no age restriction in shows in France.)

I even went to Bristol when I was 16 with a friend to see where Massive Attack and Tricky where coming from, but we were so broke and young the only thing we could afford was to hang out in parks. But we really enjoyed it, Ahha!

Then in my twenties I was a fan of Sonic Youth, Cat Power, Bonnie “Prince” Billy, Smog, and Low and the voice of Kim Gordon showed me you can speak in songs. I still enjoy the mood those musicians were putting me in, the importance of the lyrics and the feeling of being very close and intimate to the singer. The energy, the experience.

Then I started writing a bit in French magazines such as Octopus and Mouvement about music, read The Wire Magazine, and thinking about it in a more theoretical way.

At the same time, I discovered in my late twenties improvised music, avant-garde music, going to see shows at Instants Chavires, Fondation Cartier, Centre Pompidou…. I studied at Les Beaux Arts de Paris and did a workshop with Christian Wolff that was very influential to me. I started listening to Luc Ferrari, John Cage, Cornelius Cardew, but also Jim O’Rourke, David Grubbs, Fennesz, etc… I started playing music, in different projects such as Strechandrelax with dancer Elise Ladoué and a spoken word project with Sylvain Chauveau.

Then, when, and then around 28 years old, under my own name and the moniker Je Suis Le petit Chevalier. With Je Suis Le Petit Chevalier I made a lot of tapes and CD-R on great DIY labels that really encouraged me to be prolific and use recordings as a kind of sound diary. I feel it was a very liberating time because there was no pressure. I was doing live shows that were very short, very loud and noise, I felt since at that time I was playing in talking audiences I had to be louder than the audience. It was like an exorcism. I really enjoyed that psych / synth DIY scene with labels such as Not Not Fun, Stunned, Digitalis, Ruralfaune, Kaugummi…

And then, in 2011 we created Shelter Press with Bartolomé Sanson and it changed a lot for me, knowing I had my own home to release my music and trying to shape things with more specificity and control.

I had a very important discussion when we were living in the Alps with Bartolomé with our friend Pete Swanson. I think he asked me something very basic, like «  what kind of music do you want to record » and it made me rethink the whole thing. I discovered also new composers, such Ruth White, or Moniek Darge and came back to Pierre Henry, Ferrari and Robert Ashley, and then I released A readymade ceremony, which is for me the volume 1 of a kind of new moment in my music, that I am still following now.

I’d like to ask about Shelter Press.  You’ve brought together quite a roster of artists, with some incredible aesthetic variety.  Shelter Press also publishes books and artist’s books. This feels very right to me, and isn’t something that is as common as one might think, as there is so much overlap between artists who produce work in small editions, whether it be music or books, but I’d imagine that the second decade of the 21st century has been a challenging time for such an endeavor.  Please, tell us more about Shelter Press, how you go about business, how you tie these various threads together.

Well, Shelter Press is 90 per cent run by my partner, Bartolomé Sanson, he is the captain,  holding the vessel on an everyday basis, thinking things ahead and making it possible; even though we take all the decisions together. I am more like the passenger, watching the GPS, looking at the window and tuning the radio accordingly to the drive…and making sandwiches!

It’s a lot of work to publish in the same time books and records, especially since he is handling creative direction, design, editorial, sales and shipping on his own

I think in many ways we often feel overwhelmed by work!

I can imagine!

But we are very happy and proud of what we put out: for example lately from the Ocean Scores of the artist David Horvitz to the latest Eli Keszler record, Stadium,  passing by a compilation of essays about utopian pedagogy (In The Canyon Revise the Cannon), the first record in ten years by Tomoko Sauvage, or the first album by CV & JAB in collaboration with artist Zin Taylor, etc…

We try to draw a kind of circle that links a kind of sparse but connected family.

We try to always meet people in real life before working with them, this is why we do not accept demos, we are not a dating app of some kind, a record doesn’t happen in one sec, it’s a slow process of exchange, not a fast delivery.

Metaphorically, we invite people to eat our table, and in that order, we like to know them first and then take our time to eat different courses and have a good conversation.

Shelter has just released Spectres, in collaboration with INA-GRM, in which you have a text. I’m looking forward to reading this, it looks fantastic.  Can I ask about how you understand the relationship between theory and practice in this context, between ‘research’ and the production of artistic works? You mentioned that in preparation of producing new works you have a period of absorbing various inspirations (books, films, landscapes, etc). Does the intellectualization of the process, as with this essay, come as part of the process or is it more removed (before, after)?

I just believe things are never isolated. Sometimes my ways of rehearsing is making a salad. I am very inspired by John Cage, Pauline Oliveros, Ana Halprin, or Alison Knowles in the way they embrace(d) the world as a whole. A walk in the forest could be a research.

More and more time passes more and more i believe there is not in one hand theory and in another practice, everything in embedded.

Right now I have a small child, we spend most of the day in the park under the trees, and observing an Atlas Cedar for an hour is for me a way of deep listening.

I understand more time since I started to do soft boil eggs, for example. They handle a very good duration I feel.

And music is about duration.

It’s an important stage. The thinking part is the moment where you allow yourself to stop producing, and look back and forward. What have I done? What am I gonna do?

What is around me? What is missing? What is too obvious? Who / what should I call? Where should I go? To whom am I connecting, referring,  in order to say/ show/ make what I feel /want?

I feel full of questions. I need to share those questions sometimes, and take the risk to make some hypothesis. It’s part of the game. Share your ideas and the risk to be wrong or boring.

Right now, for example, I have a small baby at home. My creative time is very limited, my hands being full all day with this little and wonderful person. Well, it allows me time to think and observe.

I go to the park with my baby, I go close to the Sequoias and Cedars of the park with him, I am not playing music, but I feel it is something that prepares me as much as a rehearsal to play shows or record later.

It’s about being alive. I don’t separate life and theory and creation. Each one is one hour of a whole day.

I feel close to John Cage again in that way. Picking up mushroom is also making music. Or making music is just a part of a bigger process.

I’ve only been able to read the first page of your essay in Spectres so far, but it concerns the voice. It seems to me that your work often foregrounds the voice (and the body, as in Hand in Hand). Can you tell me more about the role that your voice and language plays in your music?

I bring my voice with me. I record it and then, a double exists, and people are listening to the double, to this strange stamp called recording. I find it fascinating.

Language is an obstacle to fascination. It brings doubt and subjectivity. I use language to break the image and I use the voice to play with its plasticity and its ghost-like ability to be multiple, pitched, distorted, doubled or vanished. Voice is a wind that penetrates the ear and leave again and come back, it’s also a feminist embodiment of a flexible force.

I believe also in the power of hushing versus screaming. Getting closer to the ear where the shout push you outside. I believe in energies and flux through the voice and its recording.

The voice for me is interesting because it’s always with you. It’s also for me something that travels; from inside to outside, passing walls, staying recorded and filling a room while your body has always disappeared.

The voice is the metaphor of the spirit in that way. It can talk but in the same time stay difficult to understand. It brings images but also confusion. It’s like a stream or cloud. You can see in it or not, it can appear and vanish.

I am very fond of Robert Ashley or John Cage’s voices. Even if they passed away they are still speaking to me.

Sometimes I feel inspired by that, I want to talk to some listeners who are not born yet; at least to people I will never meet. Recording my voice is a way to travel in time and space.

One of the tensions Sound Propositions is concerned with is the difference between working as an artist in the studio (producing records and compositions in “fixed,” recorded form) and in performances.  Do you approach to a live situation in terms of improvisation as opposed to how you work in the studio?

Aha, I would say it is almost the opposite: I improvise way more in the studio than live

Most of the outtakes on my records are first takes with a lot of improvisation in it, whereas live I construct more the performance with diffusion and scheduled sounds.

I feel that the fact that the record is « fixed » allows many strata of improvisation, because you can pile up time on it, the record has to be played several time, and is recorded in that goal of fighting with age and time;  whereas a live event is meant to disappear and therefore has , in my opinion , to be anticipated ahead, so it’s strong enough to face such a rapid and short amount of time and existence; like fire works!

Perhaps working as a writer brings with it a similar tension?

Almost all the texts that are not borrowed from literature or cut ups from magazines are improvised, they “happen” to me when I record and then I convoke them again live.

Animals, or Twenties are Gone, the two books of poetry I made were written within the same process, very condensed and fast.

How does this vary between working solo and working (live or in the studio) in collaboration with others?

I don’t do that many collabs, but for example with Jefre Cantu Ledesmathe process was like a mail  correspondence : I send you this, you answer, I react, etc… we never recorded on the same room / continent!

We would conceptualize very little ahead but rather exchange links of records and books we like to read / hear. The connection and language was a very special way of listening that, I think, we have in common.

How do you approach or conceive of the process of musical composition?  Is it a studio-based practice for you?

It’s a slow process, very similar to the way I do art. First I read books, watch films, listen to music, walk in landscapes. Then some ideas and desires appear out of this contemplation. Therefore I start producing various materials: field recordings, melodies, modular patterns, voice…. and then I listen to everything and assemble, like making a bouquet of wild flowers, according and tuning sounds into this first hunch I had at the beginning. This « feeling » or « idea » that will be the shape makers of those drafts, that will give sense and cohesion.

I think of composition as way to create form in space, with layers, blanks, densities, perspectives and light.

Would you be willing to choose a recent or upcoming track and break it down, talk about its development, equipment used, etc?

This is impossible for me to answer, I never follow recipes, neither in the kitchen, nor in the studio.

I can explain what inspires me, the environment of a composition but  I’ve always been a bit skeptical about technique demonstrations. I find it often obviously masculine and even sometimes even shallow; like ooh look how much gear I’ve got.

I feel creation, wherever it’s music, literature or painting can be analyzed as an objet, of course,  but what the artist does can only be explained in terms of intention and context, that’s it. It’s always completely relative, because at the end, the listener might catch something very different, because he/she is a different person than the artist, at a different time, in a different place, and that’s the beauty of the artefact. To be able to travel, to be able to remain a mystery and in the same time, to be able to be explained and analyzed in many different ways. Like a diamond with different facets.

In fact, I feel rather the same. I don’t mean to imply that the particulars (of the studio or a particular track’s creation) should have some universal importance, or be instilled into some kind of hierarchy, such that readers might think, oh “this piece of gear or software would make my work better.” I absolutely do not subscribe to this idea, and I’m very much moved by work that comes from making do with what is available. (Arte povera artists, or the sculptures of Louise Nevelson for instance, or the artists I’ve profiled in the series).  So, yes, I absolutely agree (about cooking as well!), improvisation is key, and formulas are generally to be resisted. Art is not a recipe to be followed.  I also concur regarding the masculinist tendency of gear shots and demonstrations of skills, flexing in the studio and all that.  (I for one dislike FACT Mag’s On the Clock series in part for this reason.)

So perhaps the question is more pedagogical: what advice would you give to someone starting out to make music or art in whatever form?  

Take your time. Believe in small forms.

Be curious and imaginative. Don’t forget to have some humour and distance around you . it’s only music. It’ s just music.  and to paraphrase JL Godard what is «  une image juste / juste image »?

You evoke Godard, and I think there’s something pedagogical in all we absorb. So, I always like to ask about an artist’s favorite work outside of sound art or music. What books, visual art, plays, films, etc you are inspired by, or find common cause with? Are their artists working in other media (past or present) that you feel an aesthetic kinship with?

So many of them of course. I wish i could have seen the Anni Albers retrospective in London and the Hilma Af Kint retrospective in NYC. Both of those wonderful women are very inspiring for me. They are both masters of colors and shapes, and I could watch their work all day. Same with many other artists such as Ruth Asawa, Agnes Martin, Sophie Taeuber-Arp, Sonia Delaunay… Painting is source of every day joy for me.

I was lucky enough to catch the Af Klint at the Guggenheim while I was home for the holidays. What a revelation, when viewed all together in a space such as that. She knew her work would be misunderstood, so she imposed this long restriction on public exhibitions of her work. To think it’s taken this long for her work to be appreciated. Imagine what else is out there, still hidden.

What is on the horizon for you? What future projects can you tell us about?

Horizon is a line in the sky I am always contemplating and questioning. We never know.

I am currently composing a piece inspired by the work and persona of the painter Helen Frankenthaler for Atonal in Berlin this summer and another piece called Hedra Helix for Musica Sanae in Sokolowsko in Poland in August. [Episode 6 of the podcast includes an excerpt from her live performance at Musica Sanae in Napoli in May of 2019.]

I am gonna play at Le Poisson Rouge in New York in September and I’m working on the score of a dance piece by the choreographer Rebecca Chantinell in Stockholm.

Thank you so much.

~

by thenewobjective · July 5, 2019

[thistownneedsguns]

TTNG Interview // Birthday Cake For Breakfast

I’m stood backstage at ArcTanGent Festival with math-rock heroes TTNG and – first question in – rather than using words to express his feelings following their performance on Thursday evening, drummer Chris Collis highlights the Birthday Cake For Breakfast smiling dog (above) as a visual representation. Vocalist and bassist Henry Tremain and guitarist Tim Collis erupt in laughter, Tim adding further explanation. “For the listener – Picture is dog with Birthday Cake, looking gleeful.”

Having had time to adjust (with Henry suggesting that TTNG would be the dog in the situation, the cake being the audience), Tim reflects further on their performance – commenting at one point that it was likely their best ArcTanGent set to date. “No, it was great. Really great to play in the UK again, ‘cus I guess it’s been a while.” He says. “Yesterday’s response was fucking incredible, like seriously.” Adds Henry. “One of the new songs we have this quiet build up and everyone was clapping along. It was pretty amazing.”

It’s fair to say that ArcTanGent is becoming a regular entry in the social calendars of those with a penchant for math/post/alt-rock and everything in-between. Growing in size year upon year, the organisers outdo themselves when curating incredible line-ups every time. TTNG have become a staple of the festival, having appeared at three of its four outings, matching the likes of And So I Watch You From Afar and Maybeshewill. “We had a break, caught our breath and then we came back to eat some more audience members.” Laughs Henry.

Much like TTNG are becoming a regular fixture of ArcTanGent, so too is the inevitability that the weather will be foul. This year’s festival featured particularly outrageous weather. Almost at Monsoon levels, Fernhill Farm gave Manchester a run for its money with the amount of downpour. It almost made watching bands and drinking beer unbearable… “It’s getting wetter and wetter each time.” Nods Tim.

The spirit of the attendees is always high, mind, and tents are always suitably rammed whatever the weather. Though the main stage has a slight ‘open-air’ issue, as many found out whilst watching Russian Circles a while back. “The first one was awesome, then the second was crazy wet…” Adds Henry. “I remember seeing Russian Circles and getting totally drenched.”

Prior to their return to UK soil and triumphant showing at ArcTanGent, TTNG had been stateside on a run of North American dates throughout August and July with the likes of Lite, Mylets and GIRAFFES? GIRAFFES! A mammoth journey through America, made even sweeter with a number of dates across the run selling out. The secret? “Well we actually have a fan base over there…” Says Henry with a laugh. “It was a good tour, the sales were a lot better than we were expecting – the pre-sales beforehand had us kind of worried. We were feeling like that’s gonna be our last trip out to the states, but it actually went completely in the other direction.”

Sargent House mainstay and running mate of both And So I Watch You From Afar and TTNG (as discussed recently with the former in this interview), Henry Kohen a.k.a. Mylets was along for the ride during their stay in America. There’s an obvious bond between both bands and Henry, the younger Kohen popping up regularly on their various social media accounts whenever they’re in the US. It’s almost as if both bands have taken him under their collective wings, though TTNG jest that it’s likely the other way round. “I think he’s pretty much an integral cog in our machine.” Say Tim of Henry. “He’s awesome to have on tour. He has a multi-functioning role on tour, so he TM’s and drives, plays and techs. It’d be really difficult to do it without him actually. He’s awesome and his music’s great so it’s always cool to play with him.” “He writes these amazing compositions on the fly in the van…” Adds Henry with a laugh.

This is again another period of the interview which would benefit from video evidence or similar, with the trio sharing a laugh reminiscing about the songwriting talents of both Henry’s through the use of a music memo app on an iphone, allowing them to write such improvised van hits as ‘Mummy’ and its sequel ‘Daddy’. A suggested special improvised song for Birthday Cake For Breakfast using said app sadly never materialises.

Away from improvised van recordings, the North American Tour coincided with the release of the band’s third studio album, ‘Disappointment Island’. Recorded live to tape over a ten day period, the trio got together at the infamous Electrical Audio studios in Chicago with Greg Norman, before it was mastered by Bob Weston of Shellac. It was actually in America where TTNG got to shape the eventual album, during a tour with The World Is A Beautiful Place & I Am No Longer Afraid To Die and Foxing. Though the album itself had some uncertainty in the lead up to its completion, as Tim explains. “I think it was good to get it done, for sure. I think there was a time before that we weren’t sure that it was gonna happen. It was kinda pressured to do it like that…” He says. “We kinda just went for it – it’s gotta be done by that time, so… It was helpful to have that.”

“We had kind of finished writing just before the tour and then we used the tour to rehearse the material, get it tour ready so that by the time we were in the studio, we’d kinda ironed out all the kinks and actually learned how to play the songs well enough, with enough energy.” Says Henry. “I think throwing them out in front of an audience is the exact environment where the pressure’s on where you have to get better and play them… I’m sure it led to some right stinkers during some of those shows, but it helped the album.” He laughs. “Possibly another reason why we didn’t think anyone would show up for this tour – hey, here’s the new stuff and it’s all terrible.” Adds Chris with a smirk. “But no, it was a good method. Psychologically I personally felt actually ready to be in the studio, wherein other times it’s just chaos and being really anxious. Sort of knowing that – ok, in theory this is ready, I can play this – was a huge benefit going into the studio.”

Cramming everything into these ten day sessions clearly proved fruitful, though potentially took years off lifetimes, as the mention of their experience in the studio is greeted by a slight sense of dread between the three-piece. Flashbacks of the whip being cracked visible in their eyes. “Stressful.” Confirms Chris when approached on the subject. “I found it stressful.” “I found it incredibly stressful throughout, because the last thing to happen is the vocals.” Adds Henry. “That, for me, is a massive stress. The bit that I really enjoy, which is playing the music bit, was really enjoyable, but there was still this high pitched violin string running in the back of my mind. I was still tense throughout. But, having said that, Electrical Audio where we recorded it is the best place. I absolutely love that place, it just feels like home. Greg, who’s our engineer, is one of the best humans ever. Made us feel totally at home and he’s just funny as fuck. I was having a really bad time doing the vocals, but he’d always manage to say something down the headphones that would put shit in perspective and make me feel good again.”

“Get your head together!” Says Tim with a laugh, before summing up his own experience. “It’s kinda nice as well, because it was a fairly long tour before that, so it wasn’t a very sterile studio at all. It would’ve been weird going to that sort of place after quite a stressful tour. It was really homely, so it was kind of a really cool place to chill out – for the most part. I know I had an easy job, I only had to do one thing, so I had a pretty good time.” “I felt kind of bad at the end of the session, I felt like I was moving out of home.” Adds Henry with a laugh. “It’s got a really nice, homely vibe to it so it’s very relaxing.” Agrees Chris. “Which is good obviously, when you’re in a somewhat pressured environment or situation, I should say.”

Disappointment Island marks the first TTNG album recorded as a three-piece. Following the departure of lead singer and guitar player Stuart Smith and bass player Jamie Cooper over the years, the band transformed and Henry, Tim and Chris carried on as a trio. “It’ll be the last” Comments Chris with a laugh when we discuss the album being put together as a trio. “No, it was great. We’ve been a three-piece for a long time, but obviously trying to play that first album that had four people on it was difficult. So this was great.”

With more room to breath, this allowed for more experimentation, including a new instrument busted out by Henry (though sadly not a ‘Daxaphone’, much to the chagrin of everyone in the band). “Yeah dude, check out the Daxophone. It’s a real instrument.” Laughs Henry. “But yeah, I built this six-string bass baritone guitar that I play, and it was nice to actually – instead of using it to play the space between guitar parts and bass parts – to actually write for that instrument. It was super fun.”

Teasers for Disappointment Island began showing up online in early May in the form of picturesque little vignettes, accompanied by the outline of an island and coordinates. Brilliantly, Fecking Bahamas not only kept track of each individual video but looked up the coordinates online and pipped TTNG to the post regarding the album name (as did a fair few other not-so-lazy fans). The title itself goes back a number of years, with Google acting as inspiration. Much like the artwork that adorns its cover, Disappointment Island was something the trio were unable to forget. “I’ve always wanted to visit.” Confesses Tim with a laugh. “As soon as you find a place like that, there’s so much mystery behind that name.” Adds Henry. “I found it on google earth probably about six/seven years ago, by chance ‘cus I was working as a graphic designer in a print company. We had a slow period, so I would just fly around the planet, checking out Tokyo’s rail networks and then just checking out how big the Pacific Ocean is…” “Turns out it’s pretty big.” Smirks Tim.

As anyone with access to YouTube, Google Earth or countless time-wasting platforms will attest, it’s relatively simple to become obsessed in pointless searches and get lost down a rabbit hole. This became Henry and his virtual flights across the globe, becoming obsessed with minuscule landmasses in the middle of the abyss. It was one such search that resulted in the discovery of ‘Disappointment Island’. “We’ve kind of been joking about it for a while. After the session we recorded with Greg, we went out for some drinks. Tim suggested it jokingly as a title and then it’s like – that’s hilarious, no wait it’s actually kind of perfect. The more we thought about it, the more it made sense.” “It all ties in with quite a few things.” Adds Tim. “I guess Henry can back this up, but perhaps lyrically on some of the topics and subjects he’s writing about. It’s pretty neat really, which is the total opposite of the previous album, which was just random chaos but seemed to also work out.” He laughs.

Similarly, the aforementioned striking artwork for Disappointment Island was practically found out of various fruitless google image searches, trawling through the internet in search of inspiration. The intricate, slightly oddball work of Ukrainian artist and illustrator Irena Zablotska came as love at first sight for the trio, with Henry commenting that the decision was made as soon as they’d caught sight of her work. “She’s incredibly talented.” He says. “There’s some amazing character to the work that she does. We went through and we found that illustration and thought it was perfect for what we wanted.“

At the time of writing, TTNG have finished off their year with a trip to Japan to play with Lite – the cherry on top of a monumental 2016. Their current line-up is stronger than ever, with the trio highlighting this through Disappointment Island. Throughout the interview, the Collis siblings and Henry are joyful, taking the piss and are clearly a tight-knit group. All is going swimmingly then? “We all put on brave faces for these kind of interviews…” Jokes Chris as the others laugh. “Things are going really well. We wanna write some new music I think.” “I’m saving up for a Daxophone.” Grins Henry.

(via Birthday Cake For Breakfast)

[enemarkgeisler11-blog]

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