The process of arranging this release was set up as a physical challenge: recording as obstacle course. Stations were set up in different parts of the site. Each zone was equipped with different instruments, source material, and amplification in addition to its unique acoustics. The challenge was to execute a series of songs in succession, moving from one place to the next: along a mostly horizontal path for the first side (X), and a mostly vertical path for the second side (Y). Each of the songs utilize the elements of rhythm, noise, vocal, and pitch. The shifts in style and mood were directly influenced by the feeling of each space. The X side began in the backseat of a car, moved inside an empty room, to a confined corridor, and a large, open warehouse floor. The Y side beginning in an underground water cistern, passing up a ladder through a concrete tunnel to a tank of sand close to the ceiling, up a trap door and into a bedroom. All of this movement while recording in real time with no stopping, post-production editing, overdubbing, or direct input lines. Recording the still air, industrial music in an industrial environment.

The results were admittedly raw in audio quality and delivery: kind of scraped up out of the floor boards. After nearly a year of fine-tuning the arrangements with each show, it seemed right to revisit the recording in an effort to define some of the more subtle details and changes made. The CDR was recorded during an unexpected scramble between the eviction and the tour. It was recorded in a concrete and aluminum room, in one take, at the first sign of sunrise. This time audio from the mixer and the recording of the room were mixed. The intention was to record clearer, louder, with more dynamic range, and to pay greater attention to transitions.

Although these releases bookend a year, the source material used had been gathered over a few years of traveling and recording privately. The recordings span time sleeping in a closet space in Providence, living out of a car in New Orleans, staying in a stone house by the ocean in New Hampshire, rooming at a squat in France, stealing a night in a home studio in the German countryside, and living on an anchored boat for a Summer. Thoughts forming and evaporating, constant movement, dissolving morality, sharpening the Will, gaining power and watching it drain out again.

DOWNLOAD HERE

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WEDNESDAY, MAY 9th 2012

9:00pm at AS220, 115 Empire Street, Providence

$6 cover

JOHN WIESE
C. LAVENDER
STEPHAN MOORE
TIMEGHOST

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JOHN WIESE
Born April 18, 1977, John Wiese is an artist and composer residing in Los Angeles, California. In the late 1990s, Wiese moved from St. Louis, Missouri to the west coast in order to study graphic design at the California Institute of the Arts. His ongoing projects include LHD and Sissy Spacek, with plenty of freelance work with many artists as diverse as GX Jupitter-Larsen, Sunn O))), Wolf Eyes, Merzbow, Evan Parker, Smegma, Kevin Drumm, Cattle Decapitation, C. Spencer Yeh (Burning Star Core) and Kommissar Hjuler und Frau. He has toured extensively throughout the world, covering Europe, Scandinavia and Australia as a member of Sunn O))), the UK as part of the Free Noise tour (a tentet including Evan Parker, C. Spencer Yeh, Yellow Swans, etc.), the United States alongside Wolf Eyes,[1] and recently performed in the 52nd Venice Biennale with artist Nico Vascellari.
http://www.john-wiese.com/

C. LAVENDER
New Jersey native now located in Hudson, New York, C. Lavender is a solo noise performer/composer who has collaborated and toured with Cock E.S.P., Paid in Puke, and The Laundryroom Squelchers.
“national goddess of hot-wired electronics and semiotic dissonance”
- Baltimore City Paper
” a creative and individualistic noise artist with an ear for atmospheric textures”
- Heathen Harvest
“exemplary solo noise” – Visitation Rites
http://www.clavender.net/

STEPHAN MOORE
Stephan Moore is a composer, performer, audio artist, sound designer and curator based in Brooklyn and Providence. His creative work currently manifests as electronic studio compositions, improvised solo performances, sound installation works, scores and sound designs for collaborative performance pieces, and sound designs for unusual circumstances. Evidence, his long-standing project with Scott Smallwood, has performed widely and released several recordings over the past decade. He has created custom music software for a number of composers and artists, and has taught workshops and numerous college-level courses in composition, programming, sound art and electronic music. He curates the annual Floating Points Festival at Issue Project Room in Brooklyn, where he also serves on the Art Advisory Board. From late 2004 to mid-2010, he performed over 250 concerts with the Merce Cunningham Dance Company, serving as their sound engineer and music coordinator, and as a touring musician.
http://www.oddnoise.com/index2.html

TIMEGHOST
Starting off the night.  Re-upped the old tape download available on this site.  Got some new ideas for this set…

MONDAY APRIL 16th
9 PM SHARP AT
BLACK BOX THEATER
95 EMPIRE STREET

DAILY LIFE
TRACEY TRANCE
BLEAKEND AT BERNIE’S
GENERATION
SISTER FUCKER

BLOODHUFF (kicking it off at 9:30 on the dot, lose when you’re late style)
DJ SARCOPHAGUS AND DJ BABY ASPIRIN IN BETWEEN SETS
$7 admission
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Introduction to the touring acts:

The 3 from Oakland, CA:
Bleakend at Bernies… a writhing, skeletal entertainer solely equipped with proto-human rhythm and morbidly hilarious vocals. Destructive, comedic, grimy, post-industrial karaoke. A relief to boredom akin to a drunken in-law freaking out and ruining a lame wedding. His crude rendition of Youth of Today makes Ray Cappo’s krishna pony tail spin like a propeller and shoot steam, making slide-whistle sounds. Welcome the chaos.

Generation… another “harsh male poetry” act, equally screamed and crooned songs in the vein of Freakshow-era Residents or early Ween tapes. The yin to Bernie’s yang,  Henry Rollins flips out on first acid trip. A semi-clad coyote well aware of his absurdity: not as art, rather cruel aktionism.

Sister Fucker… 2-piece band, from the same noiserock family as Coughs, Cacaw, Rind, and Bad Drugs. Fucking heavy and pissed, dual vocalists, pulverized drums and thick guitar chunks cut by feedback squalor. Somehow straddling the line between intricate and sparse. Sharing their name with a title by Eyehategod, coincidence?

<<First met these freaks when they stopped through Providence in their double-decker “Living Hell” Bus Tour. Check out a video of that with some familiar Providence faces here: http://vimeo.com/6611729

Tracey Trance… the pocket-size, elven creature suckling at the fountain of noise youth. A true anomaly from Iowa City, part of the Night People clan. His music exists in a strange dimension placed in the noise spectrum but still familiar with melody. Naive yet brilliant keyboard solos that bask in the glow of the Sun Ra Arkestra and Amps for Christ. Like a demented calliope churning out discordant notes in some alien cartoon, grinning all the way.

And then, lest we not forget this is the return from winter hiatus for Blood Huff and Daily Life, two local favorites opening and closing out the night.
Daily Life… Coldwave duo of CF (Kites, Mark Lord) and Sakiko Mori (Lazy Magnet). Page on Load Records: http://loadrecords.com/bands/daily-life/
Blood Huff… Bizarre/raging punk. Members of Humanbeast, Good Good, and Clear Leader. website: http://bloodhuff.com/

Wednesday, March 7th. 9PM:
heavy drone, dark ambient, minimalist composition, and delicate improvisation from

Mario Diaz deLeon
A solo performance for guitar and electronics from this celebrated young composer on Tzadik and Shinkoyo Records.

Locutions
Massive, shimmering recent electronic project from Steven Vallot of Dead Times.
This was one of the most memorable and beautiful sets at In Limbo last fall.

Beeman Glow
Daryl Seaver from Meager Sunlight playing minimal key arrangements

Kumo No Kumo
Trio of Work/Death, Blue Shift, and Sakiko Mori (Daily Life) lowercase psychic acoustics

at Building 16 in Olneyville
bring $6 and extra cash to pick up Mario’s new record Hypnos

write to adam dot morosky at gmail dot com and introduce yourself to get directions

DJ Sarcophagus in between sets

Word’s gettin’ round about the Sarcophagus sound to the best party in town

2.14.2012 at 9:00pm

TABOO
ANCESTRAL DIET
HUMANBEAST
^
TIMEGHOST

95 Empire Street, Black Box Theater
the old Perishable Theater location, next door to AS220
sorry, no booze in the house… go next door to the bar
liquor license coming soon…

$7 admission
no excuses.

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HERALDING: THE NEXT-CYCLE
The time for experimentation is over.  Time is a web of interlocking cycles.  We are now nearing the end of the first swing, and as the final of the four ages fizzles out, the energy behind the next golden age mounts.  It is organic for these processes to happen slow, indifferent to human life.  It could be a thousand years, or many thousand.  But there is a choice to make in your own lifetime.  To be preoccupied with the apocalyptic process that has been playing out for centuries, or to be oriented to the inevitable golden age to come.  We suggest that the essence of this golden age exists mostly in thought-fire, at the crossroads of inspiration and creativity, where the Muse lurks.  When a divinely inspired idea becomes manifest it immediately is set to decay, a bell ringing out until delicate ears pick it up , barely, in the silver age.

A return to the golden age is a return to the natural harmony of the universe.  The reconstruction of the hierarchy of nature.  If you attempt to breathe water you drown.  If you put you’re hand into fire it will burn.  These are two examples where attempting something out of balance with natural hierarchy is obvious because there is an immediate reaction.  Many other actions disturb the balance without an alarm, though slowly they bring all to physical or psychological but always spiritual ruin.  Natural hierarchy is there for you to perceive, it is the paradigm of  pagan tradition, equipped with the polytheistic ability to readily process abstraction.  Fracturing all perception into an ecology of deep symbolic meaning.  The Gods, the Archetypes, the Elementals.

The time for experimentation is over.  To embrace hierarchy is to do so under oath.  An oath to the truth of your own perception.  Once the oath has been made to see the spiritual world, actions become charged with intent.  This age has left the world asunder.  There is nothing left for art to break down or destroy.  Aside from asceticism; punk, industrial, counter culture, science-fiction and so on  have already put consciousness into the alchemical crucible and through torment isolated it’s constituents.  Then these parts have been scrambled for decades by fringe artists spanning all disciplines.  The work that is now at hand is the deliberate reconstruction of consciousness.

Next-Cycle is Purposeful rather than Experimental.  Next-Cycle is Hierarchal rather than Conceptual.  Next-Cycle is Structural even though it is Abstract, and it’s abstractions are Visceral, Atavistic, and Divine.

We here by raise the flag of NEXT-CYCLE, let us see who shall salute it.