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Saturday boring place holder blog post…..

Afternoon all.

Waiting for bacon to cook so I can achieve sustenance…

Mrs Sex Farm is away in the country till this evening.

Might go and read a book. Or look at some youtube videos of Shiba Inu dogs…

But until then here’s what has been playing this morning on the Stereo….

 
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Posted by on June 27, 2015 in Uncategorized

 

The Quietus: Album Reviews: Shiny darkly, ‘little Earth’

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I recently reviewed Little Earth, the debut album from SHINY DARKLY for The Quietus. You can read it here.

Interesting album. heavily signposts its influences. Is very much cool sexy goth for 21 Century – not in that they are Joy Division (As one music writer noted in their press release), but more of a cool Clash Magazine photo shoot way. Darkness as pure surface sheen, gothic transgression as affected pose.

And yet i did find myself enjoying the album in a few places. Might whip it out at a few goth parties! If anything it made me fish out my old cop of Primary Colours by the Horrors. Forgot how good that album was…

 
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Posted by on June 26, 2015 in <

 

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FALK News Alert: ULTRAORTHODOX Album Release Concert

VITAL ORGANS PROMO VINNSL FIN-6

This is happening next week!!

We unleash ULTRAORTHODOX upon an unsuspecting world!!

Invite your friends! Your enemies! Random strangers!

Listen and bow in reverence!

See you at Hurra!

 
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Posted by on June 24, 2015 in live music, Uncategorized

 

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Musings and Shit: Is this the real life? Is this just fantasy? Mind wanderings on the “reality” of our modern cultural landscape…

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Been spending a lot of my time recently poring the numerous, dense posts from S.C.Hickman’s deliciously gothic blog Alien ecologies ~ the carnal edge of posthumanism, casting a light on the dark, manky pools of thought and conjecture that centre around the inhuman (technocapitalism, speculative realism, Lovecraftian horror, and much ,much more).

One series of posts really caught my attention, his thoughts on, and review of the latest work by Franco “Bifo” Berardi, Heroes; Mass Murder and Suicide. In the book Bifo casts his eye on modern US culture and states that murder and suicides, especially ones that garner a huge amount of media and internet attention, are developmental signs of a vast kingdom of nihilism powered by a virulent death drive, and that we should map this corporate waste land of imagery in order to replace “Art, politics and therapy with a process of re-activation of sensibility, might help humankind to recognize itself again.” It’s a book I actually saw on sale in Mál og Menning and one that I’m going to have to buy and put on the massive pile of books in my in-tray that I’m slogging my guts out to read this summer.

In his piece, Hickman notes that both Bifo (and Zizek for that matter) have rather warped ideas on America in that “any form of critique is based on a necessary fiction, an illusionary simulation of the facts rather than the facts themselves.” But it was the following sections from Hickman that really caught my eye

The point here is that we are all living in artificial worlds whether we think so are not. Even the supposed natural world is a fake. Nature no longer exists. It’s all controlled by specialize access, government funding, caretakers and regulatory systems. Even the most isolated places on the planet are under someone’s control. There is no wild nature left. And, know one even remembers what that meant? Reality is produced for us even against our will. We are all will-nilly thrown into simulated realms through the meditainment networks of parent, schools, government, music, art, society…. the whole cultural nexus is one giant psychosphere. I’ve written of another Italian, The Onlife Initiative: Luciano Floridi and ICT Philosophy for whom the complex of Information and Communcations Technology spanning the globe (ICTs) are not mere tools but rather social forces that are increasingly affecting our self-conception (who we are), our mutual interactions (how we socialise); our conception of reality (our metaphysics); and our interactions with reality (our agency). In each case, ICTs have a huge ethical, legal, and political significance, yet one with which we have begun to come to terms only recently.

Of course reading this, you’d say that we need to return to reality, to nature and to “get real” and step outside of this corrosive, oppressive cultural order, this web of simulation. But then Hickman notes…

But can we? No. The notion of stepping outside of the simulator is to suddenly enter the zone of pure madness. Who would you talk to about reality? Once you left the simulator who would you be able to communicate with? What language would you use? And, most of all, if there was an “outside” – would there be a return door? Or would such an exit from the simulated world of late modern capitalism be a one way exit with a sign posted: No Returns. I sometimes think about the thousands of new dystopian YA novels being published. So many of them just pure bunk, not worth the paper their written on, not even good stories. But here and there you discover one or two that actually expose the truth of dystopian critical visions: it’s not about how bad hell is, but rather how we can in this dark hellish landscape of our own making create or invent a space of freedom, a place within the false world to discover once again what it means to be real – not human… but real. Maybe we need those boundaries between Mind and World, thought and being, artificial and natural… maybe it was the very effort to cut the fences down between them, to force a merger between thought and being that has brought us to this world of simulated realities in which nothing of the real is left. What to do? In a world where the boundaries between mind and world, thought and being have already lost their force and merged who will be the one to discover a way to cut them in twain again? Are we doomed to a simulated universe of nihilistic noise where the only escape is as Berardi forecasts: mass murder and suicide? Or is there another way?

You see it’s at reading stuff like this when I think about the material “reality” of Iceland, my adopted homeland. It’s often been noted that in terms of politics and economics, Iceland has been like a test-tube, a petri dish where the most destructive form of neoliberal policy could be enacted on society and bean counters and academics could examine what happens. A controlled study so to speak.

At times I wonder if the same thing hasn’t happened with art, philosophy,and culture as well.

For example, a couple of weeks ago some regulars at the bar I work at asked in all seriousness if Icelandic rapper Gisli Palmi was a joke character, in the same vein as Silvia Nott or Leonice. Well taking into account that Leoncie is actually “real” (just really shit at what everything she does), this question/comment got me thinking. There is often huge amount of discourse about Iceland about how Icelandic culture is so important, how we need to protect it, how it provides money and jobs. Often people ahve said that so many people come to Iceland “For the culture.”

But often I just reply, are they coming to Iceland for the culture, or are they merely comping for a marketed image they been provided of what Icelandic culture is?* When most artistic acts in Iceland come with a jokey, ironic aside (with the artist often emphasising that “it’s all just a bit of a joke”); where postmodernism, masked in the historical actions of the KUKL/Smekkleysa gang has completely obliterated any concrete interpretations, low/high art boundaries, or referrents to reality and essence, meaning that styles and personas can be changed and traded on a whim, that history can rewritten or forgotten completely;When every artist now creates and disseminates a social media “brand,” mixing their artistic and real-life personas into a continuous flow of images and soundbites; when agents and institutions of the real (police, politicians, etc) become active participants in TV, film and media satire, being the subject of joke while also in on said joke at the same time; where sounds and images are pilfered from the internet with ease; when concepts such as “nature” and “purity” itself becomes raw corporate imagery to market everything around us; when the tools of Icelandic culture, even social movements from feminism to equal rights become mediated by a web of corporate, state and quango interests; when there is almost psychopathic dissonance being exhibited by ALL of us involved in the cultural industry that allows to state/believe that we are unadulterated, autonomous, artists and scholars, allowing us to look away/ignore our own positions in the machine as uber-capitalist entrepreneurs, so that The system is no longer visible qua the system, then you have to ask yourself, just what IS real? Do we even know where the boundaries are any more? When Icelandic culture tries to “get serious,” all too often it merely consists of angry but ultimately meaningless social media rants (Like this one!), or often performance art actions of pious inconsequentialism, easily brushed aside and ignored.

All too often, I’m discussing the significance of a certain image, or song, or motivation behind a piece of art with someone, and all too often I’ve been told “But, does it have to mean anything?” And for many this means that you have artistic freedom to do whatever you want. But all too often what it means that it just becomes more fodder to feed the monster of Icelandic capital markets. 

Right now, the idea of total madness in stepping outside the cultural is preferable to the hall of mirrors that seems to constitute each new record release/gallery opening/facebook discussion thread. But i know that way is a fools errand. The quest for the inhuman real goes on….

* – apparently Paris Syndrome is a real psychological disorder. I wonder how long it is before we start seeing some cases of Iceland Syndrome?

 
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Posted by on June 19, 2015 in Iceland

 

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Reykjavik Grapevine: Interviews: Sóley

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Last weekend I interviewed Sólety Stéfansdóttir aka SÓLEY for the Reykjavik Grapevine. You can read it here. She also has an album release gig on at Frikirkjan tonight in the run up to the release of her 2nd album Ask The Deep (details at the end of the interview). Alas i can’t go, but I think some of you should at least think about attending and stuff.

She was really nice to interview. Well, it was more of a chat than a straight up interview, an exchange of suggestions and ideas sort of thing. Sóley is just one of those lovely musicians that, even if you’re not really into her music, obviously is one of life’s thinkers, ponderers and slight obsessives (She just thinks more about life and death and shit, instead of politics and cultural theory lol!) We also talked about weird films such as Beyond the Black Rainbow and the music of Aine O’Dwyer, with regards to her plans to hopefully make organ musical pieces. It was also interesting about the way that she visualizes ideas, sounds and structure in a very similar way to how music triggers colours, cinematic images and memories (real and pilfered) in my own head. We just apply our own obsessions and energies into entirely different paths….

 
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Posted by on June 11, 2015 in music

 

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Music Moment: Isobel Ccircle~ , ‘Asterism’

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Morning all y’alls!

One of the interesting things about summertime for me now I’m at uni is that I get this weird feeling of space. most of my semester time is mostly undertaken in a default setting of mild chaos and stress. It’s a constant conveyor belt of lectures, essay readings and writings and spending most of the time leaning across to my classmates and saying “um… what did he just say again?” All in all a constant stream of low-level anxiety.

But now that summer is here and the classes finished last month, it’s like I’ve been unshackled and unhooded, the door to my cell has been opened and I’ve been pushed out into the glaring sun, with a deep voice going “now fuck off till September” before the door closes behind me. As i blink and rub my eyes and stretch me legs, I simple ask myself, “What now?”

Of course I now have other worries and anxieties to think about – finding and getting work, getting enough hours, paying the bills (or which there are many). It’s the first time in a many year when my working life has been filled with a precariousness where I constantly wonder if I can afford to pay my way on a lot of things.

But this Summer is also the first in a while since I’ve been able to think. To think about a lot of things, and allow my mind to drift and wander. not so much as a daydream, but simply taking the time to ponder and read whatever I have that comes to hand. IT’s also the first time in a while when I’m starting to think a little differently about the music I’m hearing on my social feed and what I receive from people, as well as it’s place zones of experience and chaotic thought processing.

One such record I received recently was Asterism, the latest release from ISOBEL CCIRCLE~, the continuing collaborative project between Arpil Larsson and Matt Bower. Between the two of them they’ve been producing a fairly hefty body of musical works – April has been releasing under her own name for a while now (She’s also the proud owner of Dorian, the most beautiful wide-eyed cat in the world (I want to make a noise rock band named Dorian Flump), While Matt has been particularly busy, releasing numerous albums and collabs as WIZARDS TELL LIES and THE REVENANT SEA. They both specialise in that interstitial mode of drone/ambient/noise creation, with Matt taking things to a different route via kosmiche and krautrock inflected jams. But the two together make some incredibly stark, brooding soundscapes. I was first made aware of Isobel Ccircle when they released fluttercage on Jonny Mugwump’s Exotik Pylon label a couple of years back. since then they’ve fone on to make a few more releases for the likes of  Auditory Field Theory label and Matt’s own Chapelyard Records.

Now they have Asterism out on Soft Bodies Records. What I rather enjoy when listening to Isobel Ccircle’s music is the rather inhuman nature of it all, encompassing unnatural hauntings and sounds that provoke strange feelings of a decidedly Lovecraftian otherness. The fact that their soundcloud page starts off with the phrase “Transmissions From Elsewhere” only emphasizes this point. But isn’t that the whole point of ambient music in the first place? It’s attempting to make music of a certain locale that articulates the atmosphere and worldview of the world from the point of view of the locale itself. Humans are meant to be secondary (at best) participants/agents in these pieces.

And that world-in-itself feeling comes across nicely in Asterism. The blurb states that “These audio files appear to contain subsonic elements that alter the chemical compositions and geological structures of the surrounding area.” The sounds that they detect, warp and treat with human hands come across as  a mix of inhuman drones and noises that drift and mush together. the heavy rumble of the world-in-itself makes its presence several times during the record, like a geological mother calling for its children. The haunting aspect in Asterism comes from the human elements that continually threaten to break the dimensional barrier and infect the world-in-itself with its filth and malfeasance. A slight waft of piano here, a distant voice there. This is a world where rocks and crystals have feelings and emotions and able to talk and communicate with each other, but not on any level that the human sphere would understand. it is a soundworld that’s inexplicable yet strangely familiar; probably because we live just of each other perceptions.

But have a listen for yourselves. I’m off out to have some lunch!

Good day….

 
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Posted by on June 11, 2015 in music

 

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Sunday Playlist Placement Filler Interlude….

Next level bleep, horns and maneuverings this afternoon.

Normal blogging service to resume in the next couple of days once I stopping getting shafted by this work schedule…

 
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Posted by on June 7, 2015 in music

 

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