Sunday, October 29, 2017

UNTITLED POST

An essential ingredient of modernity is forgetting. That said, all narrative is to be avoided.
An essential ingredient of modernity is forgetting. That said,  all narrative is to be avoided.

THIS IS HOW WE DEFORM: Death By Audio ROBOT



I recently decided that I'd create a modulation chain from my Critter & Guitari KALEIDOLOOP so I could morph audio samples (mostly word phrases) into incomprehensible gibberish or revelatory significance. Even brutalist noise would be a welcome outcome. To this end Death by Audio's ECHO DREAM 2 was joined to that manufacturer's ROBOT. The Robot is another lo-fi modulation pedal that transposes pitch and arpeggiates with no manners whatsoever. It turns voice samples into screaming noise, and that's certainly a good thing.

Thursday, October 26, 2017

THIS IS HOW WE DEFORM: Death by Audio ECHO DREAM TWO

Death By Audio’s ECHO DREAM 2 is a delay pedal whose secrets can take you from dreamy bliss to degraded lo-fi fuzz. Coupled with my Critter & Guitari KALEIDOLOOP,  language can be mangled into random revelations and stuttered stick-talk. Fun.




Sunday, October 15, 2017

CONSUMING DEATH

Published on the occasion of a show of his work at the Stellan Holm Gallery, ANDY WARHOL 5 DEATHS takes a single tragic image from his “Death and Disaster” series and banishes the existential terror through repetition and color. Or does he? These paintings from 1963 are encountered in the wake of finitude, and retain the power to disturb, even suggesting the frailty of life through faulty inking and registration. Later works like the Electric Chairs,  Skulls,  and  Shadows renew this dread,  but with not quite the same power. The question as to whether one can ward off death by consuming it is never answered,  but all in all this is Warhol at his best. Contained in this slim volume is an  interview
 with Warhol by assistant Gerard Malanga,  as well as a conversation between Malanga and Jeff Koons. 


Tuesday, September 19, 2017

COVER: NITZER EBB 2, 3, 4

Nitzer Ebb’s three essential records are BELIEF (1989),  SHOWTIME (1990),  and EBBHEAD (1991), with the band’s tense, minimalistic EBM best heard on the first two mentioned here. Their formula  was harrowingly terse,  with powerfully clean electronic sounds coupled with menacing, authoritative chants and topical references. The graphic design nicely echoed this approach. EBBHEAD is a bit more structurally elaborate, as is evidenced in its faux Gilbert and George cover art. Still a worthy listen,  especially while driving.