Les Siestes Electroniques élargissent leur champ d’intervention en éditant une revue baptisée Audimat. Une vraie revue, pas un magazine ni un programme du festival : des articles long format sur la musique, écrits par des contributeurs français ou étrangers, pas forcément issus de la presse spécialisée. L’idée est d’ébaucher en langue française un discours critique exigeant, sans être abscons, sur la pop music, son histoire, son écoute, sa diffusion dans le monde.

SOMMAIRE N° 1

Yuppies versus Hipsters : l’underground d’hier et d’aujourd’hui par Adam Harper

Thrash-Metal, orgies pop et gesticulations outrées : manifeste de l’immodéré et du déraisonnable par Lelo Jimmy Batista

Musique numérique : pour quoi faire ? par Guillaume Heuguet

La world n’est plus de ce monde par Johan Palme

La « nébuleuse Drexciya » : une musique conceptuelle ? par Quentin Delannoi

Faustus et moi : L’inauthenticité de la pop Par Agnès Gayraud

Les rouleaux de bois par Tristan Garcia

10€

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Motto Melbourne & S.T. Lore present

INVITATION TO LOVE

An event featuring public presentations of text and sound by

MOUVING, S.T. LORE & DANIEL STEWART

Saturday 13th of July 2013 from 3pm

(refreshments available)

Motto Melbourne / Magic Johnston
27 – 29 Johnston Street
Collingwood, Melbourne
VIC 3066

For more information on these projects please visit

world food books
distort magazine
mouving

This book, conceived by Anri Sala and Christine Macel, is first and foremost intended to be a research tool, and to provide the reader with an entry point to the issues that the artist was exploring in the process of creating Ravel Ravel Unravel.
A range of different texts offer a variety of perspectives, which complement and enter into dialogue with each other in order to convey a complex reality: on the one hand, we have the historic statements by Maurice Ravel, Paul Wittgenstein and Marguerite Long (a famous pianist and friend of Ravel’s), texts taken from novels by Alexander Waugh (a Wittgenstein specialist) and Jean Echenoz (extracts from his novel Ravel), a text about John Cage and the Harvard anechoic chamber by Dana Samuel or about the left hand musical technique written by Hans Brofeldt, and finally essays by Laurent Pfister (on the notion of copyright in different countries), by Peter Szendy (a musicologist and philosopher) and Christine Macel (commissioner of the French Pavilion).
Similarly, the illustrations stem from, and illustrate, various different aspects of the project: archive images and illustrations, preparatory drawings by the artist and images from the films he produced for the Biennale.
Quentin Walesch’s design for the book coveys a sense of movement, of a discrepancy between the musical tempi: the pages are given a sense of rhythm by vertical black strips that run across the entire publication, the fore edge slides from the back to the front cover.
This books is just as much an informative work as an artist’s book, and offers both an immersion into the eventful story of a piece of music and into Anri Sala’s mind as he conceives a work and develops its main themes and principles.

Texts by Hans Brofeldt, Jean Echenoz, Theodore Edel, Marguerite Long, Christine Macel, Laurent Pfister, Maurice Ravel, Dana Samuel, Peter Szendy, Alexander Waugh, Paul Wittgenstein

Publisher: Manuella Éditions, Institut Français, Centre National des Arts Plastiques
Language: English – Français
Pages: 160
Binding: Hardcover
ISBN: 978-2-917217-48-1

Price: €30.00

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Though based in Berlin, musically, Care Of Editions focuses on the Los Angeles experimental music scene, with artists whose work is rooted in variants of musique concrète, with defining components of drone and noise.
The latest release, Ezra Buchla’s At the Door, is the most accessible record so far. The LP comprises four tracks, three on the a-side and a single 20-minute musing on the flip side. Buchla creates immersive, intricate, and at times overwhelming soundscapes carried by masterful viola and synth renditions, broken up only by his dark yet soft, almost hushed voice.
Scott Cazan’s Swallow is an album that lingers at the borders between memory, ambience and feedback. It’s built on a patch made of innumerable compositions, the overabundance of which tends to cloud he program’s internal logic. What we hear is the resonance of an impossible space that is, at once, immersive and peripheral.
Boris Hegenbart’s First / Dew branches away from the very beginnings of Hegenbart’s TAU series. It takes his debut album. Hikuioto (a self-published CD released in 1996), and re-imagines it on vinyl. Doing so not only accentuates the array of materials, it proposes an alternate history.

First / Dew, The Hikuioto Selection. Boris Hegenbart
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At the door. Ezra Buchla
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Swallow. Scott Cazan
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Ein neues Magazin aus der Schweiz, das sich theoretisch mit Gegenwart beschäftigt. Denn Vergangenheit ist nicht mehr und Zukunft gibt es nicht, «bis man sie als etwas Gegenwärtiges erlebt», so die Experimentalmusikerin Laurel Halo, die in der ersten Ausgabe im Kontext der Denkrichtung des Magazins zitiert wurde. Praktisch geht es vorrangig um die gegenwärtige Clubkultur in und um Luzern.

Language: Deutsch
Binding: Softcover

Price: €8.00
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Onement is a label created in 2006 for releasing unique, one-copy records on LP (Keith Rowe, John Tilbury, Robert Hampson…). For its second evening at WIELS, the label invites Yannick Franck to perform a live version of his « Austral » opus (Onement #3), a gorgeous suite of dark and delicate drones which could be seen as a sound equivalent to Ad Reinhardt’s late black paintings.

Musician, performer and founder of Idiosyncratics Records, Yannick Franck has developed a music based on the treatment of sources such as instruments and non-musical objects, voice, radio signals and field recordings. Also a member of noise band Y.E.R.M.O. he has performed in venues and festivals such as Issue Project Room (New York), MUDAM and Philharmonie du Luxembourg (Luxembourg), Young Arts Biennial (Moscow), EPAF (Warsaw), Instants Chavirés (Paris), Ausland and Electronic Church (Berlin) among many others.

www.onement-label.com

www.yannickfranckchronicles.blogspot.fr/

Disappears. A New House in a New Town. Sleeperhold Publications.

Sleeperhold #5.3.

“Disappears” with their release called “A New house in a New Town”. Chicago’s Disappears are Brian Case (also of the Ponys and 90 Day Men), Jonathan van Herik, Damon Carruesco and Noah Leger. Their latest album “Pre-Language”, released on Kranky records, features Sonic Youth’s Steve Shelley on the drums. Disappears’ druggy, rythmic rock music has often been compared to Neu!, Spacemen 3 or Jesus and Mary Chain at their noisiest.

This output features the demo versions of 2 new songs and a rework of “Love Drug”, from their acclaimed last album “Pre-Language”, recorded in a single track at their rehearsal space The material could not be more unpolished and this rawness only adds to the magic of the songs. The blown-open sound and potential of these versions is enormous. Brian’s barked, deadpan vocals remind of The Fall’s Mark
E. Smith, while the music shivers on. The drumming on this release is taken care of by a drumcomputer, adding a dry rhythm to underline the repetitive nature of the 3 songs. Disappears’ haunting basslines, monotone singing and shivering guitar sound are just enough to convey the mood of 21th century suburbia, with its nihilism and loneliness, the perfect soundtrack for hazy nights. In a unique blend of krautrock, minimalism and garage the group evocates desolation, despair and catharsis. This record seems to build up to an explosion that never seems to arrive. Their smoggy, narcotic sound makes everything come to a stop and builds up in a dynamic thrust, only to stop again. This is truly a thrilling release. Disappears’ interplay between tention and release is seamless and compelling.

——

The etched artwork on the b-side of this vinyl was done by Belgian photographer Stine Sampers. The diptych she created, captures the mood of the music so perfectly one could see it as the 4th song of the album.

Sampers’ pictures seem to dissect the beauty of the empty, simple moments within the human lifespan. Her pictures capture the hidden self of her subject. It seems as if the spectator is allowed to gaze into a world that’s completely indifferent to his/her presence. Her work is highly personal, helping her cope with love, loss and regret.

But Sampers doesn’t just register. By taking a picture Sampers builds a visual narrative around the subject, similar to a diary entry. They often speak of despair or disillusion, as often as they evoke happiness. There is no in-between in Sampers’ work.

Listen to a sample here.

D 17€

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APE026_MottoBooks_5322

The Molem Collective gathers a collection of hip hop sneakers of the young Morocco-born Zakaria Haddou aka Zak from Molem. He was commissioned by the Croatian-Belgian artist Hana Miletić to portray his collection of 24 pairs of sneakers, bought during the last eighteen months. The succession of different sneakers can be regarded as a short historiography of the hip hop subculture.
The bold aesthetics, reflecting a rather objective approach, is very close to Miletić’s own artistic practice. Haddou is holding up every shoe against a slightly different background which consists of different walls of his bedroom; every close-up is shot from the same side angle.
A record of rap songs, selected by the youngster, reveals more about the remarkable collection and his owner. Here the rigour of the photographic series is played out against the personal tone of the project. Against the background of his favourite songs, Zak shares stories related to his collection that introduce the audience to some landmarks of the hip hop culture. But along the lines of dress codes and status symbols, a more personal story is told, related to the boy’s experience of ‘coming of age’.
The Molem Collective is released as a limited edition LP record (Art Paper Editions #026, 2013). The yellow record sleeve and the blue vinyl label refer to the flag colours of Sint-Jans-Molenbeek, better known as ‘Molem’ in slang, the multi-ethnic neighbourhood the young man inhabits.
The Molem Collective is part of a larger socio-artistic research project by Miletić, Molem (www.molem.be). This versatile project has an organic structure where meetings and experiences can lead to a further exploration of this contested Brussels area. Resulting in an interactive archive consisting of digital photographs and videos made by a multicultural group of young individuals from Brussels, Molem is a very generous project, on the part of the artist as well as of the participating youngsters. (Tanja Boon)

Hana Miletić (b.1982) is a Croatian-born photographer and video artist based in Brussels, Belgium. Her work documents, gathers and questions distinctive contemporary phenomena related to cultural identities, often located in the margins of European capitals. Miletić studied art history and archaeology at the Vrije Universiteit Brussel and photography at the Royal Academy of Fine Arts Antwerp. She currently researches and lectures in photography at LUCA School of Arts in Brussels.

D 15€
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mono.kultur #33 – KIM GORDON: DISSONATINE.

“I hope that it still retains a certain wrongness.”

Kim Gordon, of course, created a legacy of musical innovation. Thriving on the playgrounds of noise music for more than three decades, her band Sonic Youth stoically pursued their own particularly dirty blend of noise-punk experimental rock music, building along the way not only a league of dedicated followers, but also miraculously achieving mainstream success without ever ceding ground to mediocrity. If anything, Sonic Youth became a household name for integrity and that specific kind of cool in a genre where cool is firmly attached to youth – which certainly had a lot to do with the detached charisma of Kim Gordon.

While Sonic Youth’s influence on past and current generations of experimental and punk music is undisputed, Kim Gordon’s role as a female figurehead in music and also in the visual arts might be a more complex one, based on the highly personal pursuit of her diverse interests without, unlike so many of today’s pop stars, any discernible strategy or intentional provocation. Instead, it seems to be Gordon’s unfailing belief in subculture and staying true to herself that over the years gave her a voice that would be heard clearly even within mainstream culture.

While, for personal reasons, the future of Sonic Youth remains uncertain, Kim Gordon shows no signs of standing still, returning to her beginnings as a fine artist and pursuing her fascination with noise, in sound and on canvas.

With mono.kultur, Kim Gordon talked about the vulnerability of male rock stars, the myths of New York and why fine art was her first love.

True to Kim Gordon’s DIY philosphy, the issue is somewhat of a treasure chest filled with new and old artwork by Kim Gordon, coming in a set of loose sheets and cards in varying sizes and printed on no less than five different paper stocks, all held together by the most basic commodity of all: the good old rubber band.

Spring 2013
Interview by Fiona McGovern
Artwork by Kim Gordon
Design by Willem Stratmann / Studio Anti

Price: 5€

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