Boing Boing has released a preview of the forthcoming two album release by ex-Throbbing Gristle members Chris Carter, Peter ‘Sleazy’ Christopherson and Cosey Fanni Tutti (aka XTG) in honor the 2nd anniversary of Christopherson’s death. Desertshore/The Final Report will be released tomorrow on Industrial Records.
“Burning Water” is an experimental film by The Anti-Group Conspiracy, a multimedia, uh, group founded by Clock DVA’s Adi Newton. Here’s the artist statement:
Film / Soundtrack “Burning Water, Meontological experiment Developed and directed by Adi Newton, develops new forms of visual expression. In this project which took five years to develop and film,specially constructed-lenses enabled filming through moving and fluid water. Inspired by the use of multiple montage techniques employed by Kenneth Anger. Especially in his inauguration of the pleasure dome. Each image in the film is taken from specific occult areas, symbols and images, and involves up to quintuple exposures of the film i.e. five montage-levels, at the time of construction a modified special computer software was adapted to treat the entire edited film and finally achieved the result. A film which relates directly to the subconscious levels of the mind, a kinetic Rorschach-test, an exploration of the resurgent atavistic and sentient symbolic systems, used by Austin Osmon Spare,
The Absence of architecture enables the mind to form new connections
“Burning Water” is an alchemical and technological enquiry into sub-states of being. A meontological visualisation beyond analytical analysis. ADI NEWTON 1986
Last month I performed at Rotture in Portland, OR opening for The Steven Lasombras, along with Cult of Zir and Meta-Pinnacle. I had some technical difficulties in the beginning, so you might want to jump forward to about 3:00 minutes in. It’s hard to tell from the video, but what I’m doing is bowing a broken drum cymbal with a cello bow. I have a contact mic on the cymbal, and the signal is being routed into Ableton Live, where its’ be processed through multiple effects. I have some other noise sources running in Ableton as well.
You can download my most recent single here and my album here.
This was recorded by playing a broken to shit cymbal with a cello bow and processing the output from a contact microphone. The signal was split into three bands, each band with its own effects chain. This produced a layered, full spectrum piece from a single input.
Special thanks to Trevor Blake and Justin Landers.
The Quietus ran a retrospective on Coil‘s career for the one year anniversary of Peter “Sleazy” Christopherson’s death:
Through a potent trinity of chemically-altered states, occult arcana and technological transmutation, Coil was, perhaps, the strangest and occasionally the most frightening of bands. While their twenty year history saw much in the way of personal turmoil and tragedies as they moved through the extreme hedonism and post-AIDS fallout of London’s gay clubland to a more hermetic but no less intoxicated existence on England’s South West coast, John Balance (née Geff Rushton) and Peter ‘Sleazy’ Christopherson remained true to their original intentions to explore, as the cover of their debut release puts it: “How sound can affect the physical and mental state of the serious listener”. Such explorations produced a unique and incomparable body of work that not only charts a most unconventional route through emergent musical technologies, but also signposts a hellishly complex set of references to occult theories and deviant figures throughout history (from Aleister Crowley to William S Burroughs) along the way. But the high physical and mental cost of their creative processes often lead to long gaps in their output. Indeed, the most elusive album in their back catalogue eluded the band themselves: Backwards, originally intended as a follow-up to 1991’s Love’s Secret Domain, was mentioned in the band’s semi-regular updates describing sessions with mainstream players such as Tim Simenon and Trent Reznor, yet the album was never released (although some of the recordings were later re-arranged posthumously for The Ape of Naples and its companion piece, The New Backwards).
In the 1960s, Stanley Lunetta created a number of interactive scultures using electronic audio generators. Some of them were still running as of 2008. Some responded to elements such as heat and light to change the sounds, others had more explicit human interactive elements.