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#merzbowmonday
Here are the extraâs that came with Merzbowâs Pornoise / 1kg. At top is the bluish envelope containing the magazine clippings. Printed on the envelope is information related to the release (see my prior post for a close up). At the bottom is the pink cardboard disc that came with the set.
An amazing release.
Sadie Ross
Harald Falckenberg
Just a light snack
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Academic: Response to âMothersâ by Carmen Maria Machado
The opening sentences in âMothersâ lay the frame of the story out in that they immediately introduce the characters, their surroundings, some descriptives that say something about them/their life situation, and the style Machado will use throughout the piece. It introduces the main characters â the narrator through her own perspective, Bad, and the baby itself - all at once. The way the narrator describes Bad and the baby is strange and definitely a bit âoffâ, having a kind of curiosity and admiration but also revulsion and confusion about them. Bad is described as looking pretty rough, reflecting her rough personality (itself evidenced throughout the story by her relationship with the narrator). The baby is described as almost alien-like and unfamiliar to the narrator (genderless, red); parallel to the relationship narrator has with it, the uncertainty and unpreparedness about motherhood she seems to be carrying throughout the piece.
The plot is set up through these characterizations as well â the aforementioned roughness and uncertainty is integral to the storyâs development and the protagonistsâ relationships with each other and their child. A toxic, complicated relationship and parenthood that was put into place by unfortunate life circumstance is reflected in the very way characters themselves are described; metaphorical imagery is used to emphasize the overall direction the plot will end up taking.Â
Tone is shaped in the same way through description and the language Machado uses itself, the words seem to carry gravity and weight. âHappyâ or âbrightâ descriptives arenât used â ânot making any sort of noiseâ, for instance, unsettles the reader and addresses the infant as an object of confusion; i.e. infants are usually known to be making noise at all times, especially when theyâre still young and âredâ. âLike she is dirt that has never known rainâ addresses the hardships and tribulation throughout Badâs life that eventually end up contributing to her negative actions and the dissolution of the relationship with her partner.
Personally, on a writing-as-craft basis, I felt that âMothersâ did a good job telling a well-rounded story in the writing style it was going for (~dark and mysterious~, emotional, slightly abstract but still cohesive), but that style itself isnât necessarily what I enjoy reading or writing in myself. It just tends to make me personally think of an emotional fifteen-year-old writing poetry in their journal â if you set a quote like âI only want you, I said, when cold paranoia crept into her voice like an infectionâ to a backing track it could easily be confused for a My Chemical Romance lyric and thatâs just not quite my preference. However, it canât be denied that it was effective in doing what it was going for and that regardless of style, Machado knows what sheâs doing and can easily craft a cohesive, nuanced story exercising a masterful command of near-poetic imagery and characterization.
Fiction: A Conversation With Jean-Paul Sartre
Recently exposed to have become interested in cryonics in the late 1970s, faked his own death from edema of the lung, and cryogenically frozen himself, I met up with Jean-Paul Sartre at his Paris residence to discuss his plans for the new millennium. Entering in on a dingy, aged apartment with bags of trash in the hallway and the overpowering stench of bleach seeping from the walls, I knew I was in the right place. He opened the door with no greeting or even expression on his face, simply motioning me to sit on the stained gray couch around a coffee table with a copy of a book called âThe Genealogy of Painâ lying open. Shaking with anticipation, I took a seat and took a good look at the literary icon. I noticed that he still seemed a bit chilly from the thawing process and that he appeared to have still aged slightly (albeit noticeably slower) since he went in the chamber. I knew something good was going to come next.
He sat opposite me in a very uncomfortable-looking ornamental chair and I turned my tape recorder on. âJean-Paul, how are you my guy? The future treating you well?â
âNo.â
âAlright, then. Say, do you have any plans to continue writing? Your fans have been waiting for decades at this point and theyâre eager to read some new work of yours; not to mention the huge sum Iâm sure you could make, right?â
After a long, silent pause punctuated by his picking of a scabby mole on the side of his nose and the longest possible slurp from a cup of black coffee, he muttered âMoney is immaterial.â âWell, whatever you say Mr. Academia, youâre the smart one hereâ I replied, puzzled by his seemingly stoic new demeanor, a far cry from the dense, passionate lectures he delivered in his prime years. He was silent. We stared at each other for what seemed like an eternity, him eventually breaking eye contact to go to the kitchen window and look at an ant crawling across the glass. He suddenly burst into tears.
âWhatâs wrong, Jean-Paul?â, I said. âArenât you happy that youâre getting another chance at life, greeted back to the non-frozen world by a legion of rabid fans eager to devour your work?â
He turned and sighed, sitting back down at the table. âI went away for a reason. Years and years ago, I made the decision to fake my death and immerse myself in the land of frost because, as my so-called legions of fans should have already been able to tell, our existence is meaningless. As the protagonist in my hit literary classic âNauseaâ once said, âthe past is nothing but an enormous vacuum.â We are completely and utterly immersed in the waking world yet also completely unaware of its absurdity â it doesnât matter if thereâs trash in my hallway, it doesnât matter if it smells like bleach. It doesnât matter that thereâs ants crawling across my window because they are all simply not here. We work day in and day out for a mere piece of paper that somehow carries intrinsic value despite none of us wanting to have to rely on such a thing, and thereâs simply no solution. We all know thereâs no solution, yet we keep on going. Freezing myself was the only way out and the only way to truly enjoy my life â frozen in a block of ice located within the French governmentâs secret laboratory being sustained on nutrients through a feeding tube lodged inside of me. The only reason I was discovered was because the timer had been set too early and, when I tried to get out and set it for about 100 more years, the goddamn receptionist noticed me and told his blabbermouth friends that eventually made the news catch wind of it. I didnât want to be frozen to come back, I wanted to be frozen to experience the living world without any stimulus, any interaction, any meaning â nothing. Just the way I like it.â
I was stunned and almost didnât know what to say next. But then I thought of the readers, the content they needed and deserved. âTell me more about this feeding tube.â
He sighed, seemingly disappointed by the question I was asking. âIt fed me a brown liquid that kind of looked like one of those organic smoothies all these new-generation people wearing fanny packs across their bodies and red-tinted sunglasses are getting at the new Whole Foods down the street. It was pumped directly into my stomach through a heat-containing tube so it didnât freeze over and make me malnourished.â He folded his arms, pouting a bit and sitting back in his chair that Iâm sure was killing him by now, obviously slightly pleased by the back pains that were starting to hit him.
âFascinatingâ, I said. âSo what do you think about all the new technology thatâs come around since you got frozen? Do you have an iPhone? Are you planning on setting up an Instagram account to promote your new work?â
âInstagram is immaterialâ, he replied.
I shot up, beaming with delight, reaching to shake his limp hand and gaze into his eyes. âI think weâve got everything we need for the new generation here.â Without saying another word, he escorted me to the door and I left his apartment.
As I was walking out, a roach crawled across my foot but I didnât even jump â I was too busy thinking about the philosophical gold I had just uncovered. Soon enough there would be undergraduate philosophy students flooding my emails with their term papers about the immateriality of Instagram â this is why I do this work, these are the kinds of facts Iâm trying to uncover.
Review: The Gerogerigegege - All You Need Is An Audio Shock By Japanese Ultra Shit Band The Gerogerigegege
All You Need Is An Audio Shock, a bootleg French record of tracks culled from releases across experimental music legend Juntaro Yamauchiâs project The Gerogerigegegeâs career is an engaging, sometimes hilarious, and often unsettling compilation of work spanning from 1985-2001. This release particularly stands out in their discography in that it acts as the best collection of evidence proving that Yamauchi can do everything from power electronics (âăăăŽă«ć„ł Destroyedâ) to noise-rock aâ la Les Razilles Denudes (âCar Sex Macdonald Drive In Letâs Goâ) in an instant with flawless execution and no hesitation.
Of course, this isnât a release for anyone outside of those dedicated to noise and noise subculture â but for those who are interested, itâs an essential, albeit somewhat scattered document of one of the most important and influential bands to come out of the 90âs Japanese noise scene. Perhaps best known for their consistently disturbing live show (often involving a male exhibitionist pleasuring himself onstage), the Gerogerigegegeâs didnât have a particular sound, preferring to constantly change throughout the years in accordance with whatever Yamauchi felt like doing. The tracks selected for this compilation cover a wide array of stylistic shifts and arranges them in a way that is scattered yet keeps the listenerâs attention throughout, never getting dull, boring, or repetitive â quite the rare feat for any experimental release. It essentially just throws together everything the project is known for (samples of Cambodian pop music, live performances, grindcore tracks, drawn-out harsh noise sections, uncomfortably long snippets of moaning), focused more on providing an across-the-board sampler of their work rather than a cohesive document of a specific period in their career. And it (mostly) works.
On one hand, the listener gets a glimpse pretty much everything the project has to to offer and the listening experience is consistently entertaining. The arrangement is all over the place but the sides are roughly divided into non-noisy (âSenzuri Action, Side Aâ) and very-noisy (âNoise Actionâ, Side B) sections, with quite a bit of overlap between. The only real complaint I can see here is that a fan expecting a straight release of a specific style they enjoy may feel a bit shorted, especially those seeking out a physical copy of their harsher work. However, itâs not that glaring of an issue - itâs all still partially there and the original releases are quite readily available online or through Discogs for those willing to drop a decent amount of money.
Regardless of personal style preference, All You Need Is An Audio Shock does, in fact, shock the listener and keeps their ears glued to the turntable. I personally found it quite difficult to stop paying attention to it â distracting oneself from either a.) blistering noise or b.) cringeworthy sex-sound-collages isnât the easiest task, and thatâs exactly what The Gerogerigegege wants. The entire point of their work is to demand attention and make their audience as unsettled as possible, to create the sonic equivalent of the middle-aged exhibitionist masturbating on their stage.
8.5/10
Review: SSAB Songs (Harmony Korine and Brian Degraw) â S/T
Harmony Korine has certainly mastered the art of translating the aesthetic heâs known for (off-kilter, lo-fi, humorous but sinister in some particular way you canât quite put your finger on) into every medium he works in. SSAB Songs, a 1999 collaboration between Korine and Brian Degraw of Gang Gang Dance is a prime example; if anything is the sonic equivalent of Korineâs sense of visual aesthetic, this is it.
The debut (and only) release by this project takes the form of a single track, a 27-minute sound collage that lies somewhere between pure noise and fully-composed songs, essentially a compilation of snippets that create a collective atmosphere rather than fully fleshed-out ideas in and of themselves. It frequently shifts in and out of dissonant, off-kilter musical segments, going from one thing to the next very quickly while still retaining a solid idea of the ideas theyâre trying to convey. There are âmusicalâ moments but theyâre still extremely lo-fi Much like the segmented structure of Korineâs films around the same time (Gummo, Julien Donkey-Boy), every âsceneâ works together even if theyâre completely different ideas â when the piece shifts from loud, clanging metallic percussion Ă la Neubauten to Appalachian folk music and back, it doesnât sound jumbled or thrown-together without intention. If essence of this album were to be described in a physical artifact it would be a dusty, unmarked VHS tape containing something that would probably make you feel dirty after watching it âmaybe along the lines of a person you donât know crying or granny porn. This is clearly the intention and it would be dismissive to say it didnât work. Anyone that isnât interested in experimental music would definitely consider it pretentious bullshit, but those who are will be impressed â Korine and Degraw prove themselves even among more noted experimental acts and demonstrate an ability to curate a composed, well-thought-out piece that conveys a clearly intentional aesthetic in line with their artistic sensibilities.
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Detail : Neptune and a Seahorse - Trevi Fountain 1732. Rome Italy.          http://hadrian6.tumblr.com