![" "[sic] TIM GOLDIE](http://2.bp.blogspot.com/-yf2qnafVrwY/TXkMycUx3-I/AAAAAAAAACo/XtUJpgl5yso/s748/CROPPED%2BBASTEL_MG_7353.jpg)
" "[sic] Tim Goldie - the only artist in London. David Panos
" "[sic] Tim Goldie is one of the most original noise musician/performers on the European scene. His double album "ABJECTOR"[sic] is a violent and considered examination of the fragmentation of language, the de-composition of instrumental research and the painful suffering that accompanies it. Far from any current or cultural influence, Goldie's work places itself in a unique conceptual universe, and its cruel voice warbles a mix of agony and ecstasy. Valerio Tricoli, Netmage Festival, Italy 2009
Who: UK drummer and scathing noise artist, unafraid of fairly perilous behaviour.
Why: A kind of mutant cross-pollination of noise, live art, dada and UK improvisation. Unsettling and confusing. But not in the ways you might expect. In their extreme noise and ominous silence, in their mordantly sad, caustic and bizarre, maybe even pathetic actions, it's just difficult to tell whether or not his performances are a skilled and trenchant, but dreadful parody of your own pointless aspirations for self-expression – this uneasiness, this being unsure what's going on, is, in the end, the point. Arika, Instal, Glasgow 2010
NEW RELEASES NEW EXTORTION:
" "[sic] Tim Goldie & Daniel Beban
Slakes
Entr'acte 3 x CD + Pbk
A duo which veers haphazardly between the maximal and the minimal. This 197 minute triple CD contains no fewer that 85 tracks, yet just over half of them are no longer than 20 seconds and emit little more than a faint hum or the sound of a quietly ticking clock. They're scattered around a series of energetic, stormy improvised workouts, in which New Zealander Beban meets Goldie's vocal outbursts and percussive barrages - layered polyrhythms and z'ev-style primitive ritualistic pounding - with swathes of grinding electronic frequencies and gritty feedback swarms. The more interstitial tracks are the most rewarding, in particular by Goldie.
Like Mattin, Goldie, who is currently based in London, disrupts certain idiomatic musical forms - primarily Noise, power electronics and improvisation - with strategies borrowed from performance and conceptual art. Slakes periodically resembles Goldie's occasional duo with Mattin, Deflag Haemorrhage/Haien Kontra. The raucous live recording which closes the third disc has a typically confrontational air. Goldie is an increasingly accomplished improvisor - interspersed throughout Slakes is a series of solo percussion pieces which overflow with both aggression and intelligence.
Those aside, the duo's talents seem to lie as much in the linguistic as the musical. The book which accompanies Slakes contains neither sleevenotes nor imagery, just the track titles typeset in bold uppercase, black text on a white background. It's a smart ploy - they conjure fascinating linguistic riddles, splicing together convoluted palindromes, lorem ipsum gibberish, garbled snatches of German and French, political sloganeering and philosophical jargon.
Thus two minutes of blurry hum on the third disc is rewarded with the name "Mystagogue [Not Being To Be Seen] Evaginates Hysterical Malingerer Samotari Mekivun Ha Yaar Zugrunde: The Empty Plan", and one of the better duo face-offs on the second is tagged "Depict Hyperparasitic Functionary Coup De Maitre What Did You Want This Body This Externalisation". See also "Naturalised Verwindungist Executables/Prion Tandem Paralogue" and my favourite, "Mutual Conciliatory Gestures Interminably Theatricalised". It's not glib in the slightest to say that the track titles are sometimes more stimulating than the music, which perhaps warrants documentation on a single 65 minute CD, but hardly three.
Nick Cain, The Wire, April 2013
" "[sic] Tim GOLDIE / Daniel BEBAN
nouveauté
'Slakes'
3 CD + livre
ENTR'ACTE
Réf : E 145
Étrange et détonante rencontre entre " "[sic] Tim Goldie (batterie) et Daniel Beban (tous les autres instruments). Étrange car insaissisable même si marquée par une énergie noise et la soif d'expérimenter, étrange car on croit parfois écouter la chute d'un set de batterie dans les escaliers d'un entrepot abandonné. Détonante car oui l'énergie et l'électricité sont de la partie et sans consensus. Ensuite l'enregistrement est également utilisé dans ses limites et possibles pour souligner le tout. C'est tout simplement excellent ! Satisfera autant les amateurs de Whitehouse que ceux de Mattin.
Strange and explosive encounter between Tim Goldie
(drums) and Daniel Beban (all other instruments).
Strange, because it’s elusive — even if it’s marked by
the momentum of noise music and a thirst for experi-
mentation. Explosive, because energy and electricity
are involved, independent of any ruling logic. Excellent,
quite simply! Will prove of equal interest to lovers of
Whitehouse and Mattin alike.
metamkine.com
DEFLAG HAEMORRHAGE / HAIEN KONTRA
" "[sic] Tim Goldie & Daniel Beban
Slakes
Entr'acte 3 x CD + Pbk
A duo which veers haphazardly between the maximal and the minimal. This 197 minute triple CD contains no fewer that 85 tracks, yet just over half of them are no longer than 20 seconds and emit little more than a faint hum or the sound of a quietly ticking clock. They're scattered around a series of energetic, stormy improvised workouts, in which New Zealander Beban meets Goldie's vocal outbursts and percussive barrages - layered polyrhythms and z'ev-style primitive ritualistic pounding - with swathes of grinding electronic frequencies and gritty feedback swarms. The more interstitial tracks are the most rewarding, in particular by Goldie.
Like Mattin, Goldie, who is currently based in London, disrupts certain idiomatic musical forms - primarily Noise, power electronics and improvisation - with strategies borrowed from performance and conceptual art. Slakes periodically resembles Goldie's occasional duo with Mattin, Deflag Haemorrhage/Haien Kontra. The raucous live recording which closes the third disc has a typically confrontational air. Goldie is an increasingly accomplished improvisor - interspersed throughout Slakes is a series of solo percussion pieces which overflow with both aggression and intelligence.
Those aside, the duo's talents seem to lie as much in the linguistic as the musical. The book which accompanies Slakes contains neither sleevenotes nor imagery, just the track titles typeset in bold uppercase, black text on a white background. It's a smart ploy - they conjure fascinating linguistic riddles, splicing together convoluted palindromes, lorem ipsum gibberish, garbled snatches of German and French, political sloganeering and philosophical jargon.
Thus two minutes of blurry hum on the third disc is rewarded with the name "Mystagogue [Not Being To Be Seen] Evaginates Hysterical Malingerer Samotari Mekivun Ha Yaar Zugrunde: The Empty Plan", and one of the better duo face-offs on the second is tagged "Depict Hyperparasitic Functionary Coup De Maitre What Did You Want This Body This Externalisation". See also "Naturalised Verwindungist Executables/Prion Tandem Paralogue" and my favourite, "Mutual Conciliatory Gestures Interminably Theatricalised". It's not glib in the slightest to say that the track titles are sometimes more stimulating than the music, which perhaps warrants documentation on a single 65 minute CD, but hardly three.
Nick Cain, The Wire, April 2013
" "[sic] Tim GOLDIE / Daniel BEBAN
nouveauté
'Slakes'
3 CD + livre
ENTR'ACTE
Réf : E 145
Étrange et détonante rencontre entre " "[sic] Tim Goldie (batterie) et Daniel Beban (tous les autres instruments). Étrange car insaissisable même si marquée par une énergie noise et la soif d'expérimenter, étrange car on croit parfois écouter la chute d'un set de batterie dans les escaliers d'un entrepot abandonné. Détonante car oui l'énergie et l'électricité sont de la partie et sans consensus. Ensuite l'enregistrement est également utilisé dans ses limites et possibles pour souligner le tout. C'est tout simplement excellent ! Satisfera autant les amateurs de Whitehouse que ceux de Mattin.
Strange and explosive encounter between Tim Goldie
(drums) and Daniel Beban (all other instruments).
Strange, because it’s elusive — even if it’s marked by
the momentum of noise music and a thirst for experi-
mentation. Explosive, because energy and electricity
are involved, independent of any ruling logic. Excellent,
quite simply! Will prove of equal interest to lovers of
Whitehouse and Mattin alike.
metamkine.com
DEFLAG HAEMORRHAGE / HAIEN KONTRA
HUMILIATED e.p. and LUXURY album re-release now available on TOCHNIT ALEPH
http://www.tochnit-aleph.com/DH-HK
ALSO AVAILABLE:
"ABJECTOR"[sic] by " "[sic] TIM GOLDIE (double compact disc available on H.M.O/R (HIBARIMUSIC and W.M.O/R)
http://www.mattin.org/recordings.html
http://www.hibarimusic.com
"ABJECTOR"[sic] by " "[sic] TIM GOLDIE (double compact disc available on H.M.O/R (HIBARIMUSIC and W.M.O/R)
http://www.mattin.org/recordings.html
http://www.hibarimusic.com
HUMILIATED Review:
"Absolutely fucking insane. the weirdest record i have heard for a LONG time!! The eccentricity/ form destruction of say ULTRA but more slick, like a cheetah applying lipstick on a coke mirror. Like if you record humidity. wild mix of sexy cymbals, (non) accident vocals/child sighs, makes William Bennett sound like Moira Stewart. BONKERS BONKERS and once more BONKERS I cannot recommend this highly enough. its like taking one massive shit and then it grows a mouth and starts talking back??? arachnophobia toilet scene style. w/ heavy last seconds unpaused tape AARGH style. RECORD OF THE YEAR HANDS DOWN. (and INCREDIBLE packaging)". Steven Warwick
A rum 'un sent from Spain on the Berlin Tochnit Aleph label, which appears to be Mattin perhaps with Tim [sic] Goldie. It's called Deflag Haemorrhage / Haien Kontra (TOCHNIT ALEPH 088) and is credited to Humiliated, and if you can open the silver bag you're greeted with two printed cards full of information and images that make no sense, apart from a dense printed text which begins 'I am only horror to myself' and continues down a path of self-loathing and imagery of deathly decay using stark writing in the style of Michael Gira. Spin the 20-minute CD to hear a grotesque parody of experimental techno noise of some sort, packed with overlaid and shattered beats and sprawling electric hateful noise, over which we hear an agonised, painful multi-tracked groaning and yelping vocal from someone who sounds like they're being flayed alive. These above arrived around early September 2009 in the Sproj-Box.
"Absolutely fucking insane. the weirdest record i have heard for a LONG time!! The eccentricity/ form destruction of say ULTRA but more slick, like a cheetah applying lipstick on a coke mirror. Like if you record humidity. wild mix of sexy cymbals, (non) accident vocals/child sighs, makes William Bennett sound like Moira Stewart. BONKERS BONKERS and once more BONKERS I cannot recommend this highly enough. its like taking one massive shit and then it grows a mouth and starts talking back??? arachnophobia toilet scene style. w/ heavy last seconds unpaused tape AARGH style. RECORD OF THE YEAR HANDS DOWN. (and INCREDIBLE packaging)". Steven Warwick
A rum 'un sent from Spain on the Berlin Tochnit Aleph label, which appears to be Mattin perhaps with Tim [sic] Goldie. It's called Deflag Haemorrhage / Haien Kontra (TOCHNIT ALEPH 088) and is credited to Humiliated, and if you can open the silver bag you're greeted with two printed cards full of information and images that make no sense, apart from a dense printed text which begins 'I am only horror to myself' and continues down a path of self-loathing and imagery of deathly decay using stark writing in the style of Michael Gira. Spin the 20-minute CD to hear a grotesque parody of experimental techno noise of some sort, packed with overlaid and shattered beats and sprawling electric hateful noise, over which we hear an agonised, painful multi-tracked groaning and yelping vocal from someone who sounds like they're being flayed alive. These above arrived around early September 2009 in the Sproj-Box.
"Humiliated" fait suite à "Luxery", disques de soumission aux bruits soniques, à l'exhibitionnisme de la scène, shotgun tiré à bout portant sur l'auditeur cultivé des musiques improvisées, écho au "Vicious" de Lou Reed, aux vomissures électriques de Whitehouse et à la poésie masturbatoire de Gerigerogegege. Guitar & drums : fouettées, tordues, violentées, plus que jouées, voix porngraphiques hurlées ou susurrées à notre oreille souffrante. Disque malsain, parce que se pose la question du plaisir à ce bruit là. Masturbation sonore de deux psychopathes hégéliens, la musique comme dialectique à casser nos briques mentales, à forcer la musique du coté de son inconscient. Masami Akita disait de la musique noise "qu'elleétait l'inconscient de la musique, sa pornographie". Forceps soniques arrachant l'improvisation à ses manières politiquement correctes, à la chose culturelle pour la fange rock n'roll, moins une figure de style qu'un hurlement en faveur de Sade. Mattin est un grand lecteur des théoriciens de la Société du Spectacle. "La musique mime l'ordre social, elle domestique le bruit", lui veut son désordre, son renversement. En tacticiens : Mattin et Tim Goldie déversent des flots de fréquences blanches et de stridences sur fond d'aplats métalliques martelés dans nos tympans sachant que certains d'entre nous y prendront un plaisir extatique, dès lors en pleine montée ils coupent le flux pour nous laisser dans un vide sonore et son angoisse, seules deux voix éructant, susurrant, vomissant, un discours post-situ à la façon d'une b.o.f de film porno. Deflag Haemorrhage/Haien Kontra serait la vision arty et politisée de Whitehouse, jouant des contradictions de la contre-culture et de l'entertainment, à la façon d'artistes comme Gordo Matta-Clark (trouant l'espace social) ou de Dan Graham (sa contamination par la culture pop). Pour un Art du Bruit vivant et un pied de nez au bon goût. Michel Henritzi
"ABJECTOR"[sic] Reviews : "ONE CRUEL VOICE. The agony, the ecstasy: extreme emissions from the human voicebox. No instrument conveys as broad a range of emotions - love, tenderness, pain, longing - than the human voice. Towards the periphery of the vocal spectrum, however, where words turn to howls, gibbers and wails, emotional certainties dissolve, and the extremes of human experience flow together: the old pleasure pain dichotomy, right there in the distressed whimper of a vocal chord. " "[sic] Tim Goldie has been on the radar a little while, chiefly through his membership of Deflag Haemorrhage/Haien Kontra, an outfit with Basque sound artist Mattin. His debut album "Abjector" [sic] is one of the most flat-out original noise albums I have heard in some time: a punishing, determinedly outre, excursion into drum improv, digital noise and extreme vocal gymnastics. The first cd recalls the acoustic investigations of Alvin Lucier, extended periods of improvised drumming, credit cards and scraped snare, investigation of the properties of an instrument as crucial as technical skill. The second CD - the heavily titled "Devocalised Fluchtverdachtiger/Blocksperre Refluxur"[sic] brings vocals into the equation: shrieked and wailed, hoarse with emotion, often distorted by crackling static, or by lips pressed against the skin of a snare. The language itself, though, is fractured and mangled, meanings dissolved or hiding latent; a musical counterpart, perhaps, to the aggressive datafeed spew of Kenji Siratori's postmodern novel 'Blood Electric'." - Louis Pattison, Plan B Magazine, issue 30, February 2008
"The very first youngster to make a move in our first workshop way back when." Eddie Prévost
"The very first youngster to make a move in our first workshop way back when." Eddie Prévost
" "[sic] Tim Goldie's double solo album "Abjector" [sic]: what's in a name? not much except that with a name like this, it's unlikely to be a very cheerful work; and what's in the artwork which tells little? not much except that the whole is a work of fashion-scorning art; but mostly it's in the music; the recordings were made over 5 years, and I suppose that these albums are compilations (including some brutal editing where 1 section is cut off abruptly before the next begins, as well as some brutal, speaker-bruising distortion) of a long series of solo explorations; the 2 albums have clear identities - as if for 5 years Goldie explored 2 themes in tandem and then pushed them apart for the double album album 1 ""White Peristaltic Interrogations" [sic] almost entirely drum and cymbal solos with distorted voice in the background from time to time; I like this album a lot; it has a quality of violent meditation; violence in the dogged engagement with singular themes, especially sequences of drum rolls which could have been played by Billy Cobham in Mahavishnu but never so nakedly and persistently; meditation in the extreme focus on a limited sonic palette and approach - I wouldn't call this an experimental record, there isn't the sense of the performer experimenting, rather there's the sense of the performer pursuing a single line of exploration through thick and thin, never deviating over the years; the result has a mesmeric quality and also a strange, edgy spirituality - perhaps the spirituality of a fakir, almost that of a martyr, a record of fasting, of transfixion, of musical mortification; even at its most sparse, the sound fills the room, it leaves no air-holes, it's like a train, a damned train on a long viaduct, and to the sides a great drop, and straight ahead the viaduct curves on and on; towards the end of the album there are long silences, sometimes very long, where the sound in the room rustles with the memories of what's passed, and the listener can bathe in the charged silence between bursts of sound-weather. album 2 "Devocalised Fluchtverdachtiger / Blocksperre Refluxur" [sic] in the second album the voice - and damnation - comes to the fore mixed with extreme distortion and electric drill-screams; like a soundtrack to the Chapman Brothers' lost masterpiece 'Hell' or a never-ending tooth-extraction nightmare or the black catharsis of the torture scene in Pasolini's Salo or just a bunch of Nazis trapped in a padded cell with only each other to vilify; and unlike the first album, here the violence of the voice and electric distortion disintegrates meditation into pain-music, where pain-emotion compresses in its black vice all quiet and spirituality; an album of the cries of the undead, the souls in purgatory wailing for judgement, a nasty black mirror reflecting the nastiness of a war-torn world and rendered minds; it's also unlistenable; I can't listen to it, it's too much, too unremitting, too rebarbative, too wearing on a sensitive chap's struggle to stay the right side up of the abyss. Nick Hobbs
"Tochnit Aleph (Berlin) Recommended first solo-release by the great 'percussionist', trouble-maker, Deflag Haemorrhage / Haien Kontra member from London. Double CD of live & direct miniatures for Drums, Voice, Credit Card, Bird Whistle, and Guitar Amplifier/Leads. WHAT A LUXURY!"
Trying to convince people about the good and the bad in a record like this is completely useless. A classic love/hate dichotomy: someone will think that it's art, someone else that it's shit. Tim Goldie himself seems to have chosen a black/white approach in releasing this pair of CDs. In fact, the first one features a piece - "White peristaltic interrogations" - where the experimentation with drums and voice reaches points of high interest, as Goldie transforms the instruments (which also include credit card and bird whistle) into machines producing several kinds of groans, growls and thunders, the whole interspersed with long silences in the final section. Some of the materials are not too distant from Z'EV, but there's probably a larger dose of anarchy in what we find here (you've got to love the absurd track subdivision, take a look to your player while listening). The second disc finds the author in full-scream mode in "Devocalised Fluchtverdächtiger", as he meshes his shrieking rants with the resonance of a snare drum or throws them up by themselves, overdriving the mess via a guitar amplifier. This is obviously the part that you might want to keep secret to your relatives, a pure act of anger and liberation that has no musical sense at all yet perhaps does imply a degree of artistry, more or less on the coordinates of Viennese Aktionist movement - or nearby areas. Not that the depth is the same, though. Or is it? I can't decide myself. Still, this is a keeper if only for disc one, which contains seriously absorbing, brain-enhancing noise in abundant quantities. http://www.youtube.com/watch?v=BEsAlNCIPcs Metamkine (France) Voix, batterie, ampli guitare, câbles. Enregistré avec le volume au maximum de l'entrée du DAT, saturations continues, le cri excite la batterie, la voix joue de la caisse claire et le feedback fait des siennes Une véritable déflagration, comme une version ultra-punk de 'Music for solo performer' d'Alvin Lucier. Coproduction w.m.o/r et Hibari music.
Adam Sherry (A Dead Forest Index - Melbourne, Australia) January 2008 ""ABJECTOR"[sic] The skeleton and centre of this record for me is Tim Goldie's virtuoso percussion. Different angles sharpened and cut into with rhythm and swarms of sound, beat down through his drums, a constant pressure or tension maintained in the lengthy build up of songs, an expectation and wait for a sudden fall or explosion, as primal or as physical as i've heard any drummer play. Over two discs Tim creates an atmosphere of his own, forms the basis of his own language, sucks you wholly into his world. The small echoes or sparks of dark sound coming off cymbals, distorted screams, a peel of words through a snare drum, and silence."
NoiseBlog (USA) Mattin sent me a couple of his most recent releases, including "Abjector"[sic], a double release by " "[sic] Tim Goldie [myspace without music, myspace with music]. Both discs contain some 70 minutes of material, cut up in chunks of 2 minutes, so you get 30+ tracks on both discs, though in both cases it's actually just one long track. Feel free to play this disc in random mode. On Disc 1 you'll find a track called "White Peristaltic Interrogations"[sic] recorded using "drums, voice, credit card and bird whistle" - It's quite varied, starting of calmly with an etheric cymbal-piece, and then spanning the whole spectrum between "drums falling down the stairs in a controlled manner" over "duct tape on skin harsh noise" to "abstract hardcore jazz with heavy screams on uppers (*)" - the latter are a bit hard to digest, but the avantgarde-minded among us will certainly dig it - I'm more for the harsh noise parts and tumbling drums (that by moments come pretty close to abstract percussion à la old school Z'ev), just to say that probably everyone will find something in the record that he or she will like (unless you've never ventured past the pop-department of your local record-shop, but in that case you wouldn't be reading these pages anyhow - a fucked-up taste is a prequisite). Disc 2, "Devocalised Fluchtverdächtiger/Blocksperre Refluxur"[sic] is a bit of a surprise after Disc 1 (or not) - On this one Tim Goldie drops the bird whistle (bird died while recording Disc 1, or whistle got lost or swallowed), uses only snare drums (rest of the drum is in debris after the recording of Disc 1) and as an additional instrument uses a guitar amplifier and leads. The credit card is still mentioned in the listing, and probably playing an even bigger role in the whole track, as "Devocalised Fluchtverdächtiger/Blocksperre Refluxur"[sic] is pretty raw and fucked-up (and therefore totally "up my alley") - I don't really hear snare drums in the track, but there's a lot of cable- and amp-noise on this one and [sic] Tim Goldie screaming the guts out of his body, reminding me of that classic 7? of a certain Japanese act starting with a "G" and ending on "e" - other parts, especially the "fuck"-ones, remind me more of a power-electronics act with failing electronica. Lots of silences in this track, sometimes lasting several minutes - The liner-notes (in mirrored writing) mention that the material is recorded directly to DAT using two mikes (without overdubs, nor effects) so I guess this means [sic] Tim Goldie put the integral recording on disc, straight from DAT as it was recorded that day including the parts that he was doing credit card or just trying to get his stuff together cause this was clearly a heavy studio-experience. Putting the integral recording on disc makes this record a truly straight-forward, no-nonsense release. Recommended! You can order this release at Hibarimusic [website] in Japan (for 2000 yen it's yours). Here's what another reviewer (Bagatellen) says about the record (in case you need a second opinion before deciding). (*) that would explain the occurence of a credit card in the list with used instruments Bad Alchemy 57 Feb. 2008 (Deutschland)
NoiseBlog (USA) Mattin sent me a couple of his most recent releases, including "Abjector"[sic], a double release by " "[sic] Tim Goldie [myspace without music, myspace with music]. Both discs contain some 70 minutes of material, cut up in chunks of 2 minutes, so you get 30+ tracks on both discs, though in both cases it's actually just one long track. Feel free to play this disc in random mode. On Disc 1 you'll find a track called "White Peristaltic Interrogations"[sic] recorded using "drums, voice, credit card and bird whistle" - It's quite varied, starting of calmly with an etheric cymbal-piece, and then spanning the whole spectrum between "drums falling down the stairs in a controlled manner" over "duct tape on skin harsh noise" to "abstract hardcore jazz with heavy screams on uppers (*)" - the latter are a bit hard to digest, but the avantgarde-minded among us will certainly dig it - I'm more for the harsh noise parts and tumbling drums (that by moments come pretty close to abstract percussion à la old school Z'ev), just to say that probably everyone will find something in the record that he or she will like (unless you've never ventured past the pop-department of your local record-shop, but in that case you wouldn't be reading these pages anyhow - a fucked-up taste is a prequisite). Disc 2, "Devocalised Fluchtverdächtiger/Blocksperre Refluxur"[sic] is a bit of a surprise after Disc 1 (or not) - On this one Tim Goldie drops the bird whistle (bird died while recording Disc 1, or whistle got lost or swallowed), uses only snare drums (rest of the drum is in debris after the recording of Disc 1) and as an additional instrument uses a guitar amplifier and leads. The credit card is still mentioned in the listing, and probably playing an even bigger role in the whole track, as "Devocalised Fluchtverdächtiger/Blocksperre Refluxur"[sic] is pretty raw and fucked-up (and therefore totally "up my alley") - I don't really hear snare drums in the track, but there's a lot of cable- and amp-noise on this one and [sic] Tim Goldie screaming the guts out of his body, reminding me of that classic 7? of a certain Japanese act starting with a "G" and ending on "e" - other parts, especially the "fuck"-ones, remind me more of a power-electronics act with failing electronica. Lots of silences in this track, sometimes lasting several minutes - The liner-notes (in mirrored writing) mention that the material is recorded directly to DAT using two mikes (without overdubs, nor effects) so I guess this means [sic] Tim Goldie put the integral recording on disc, straight from DAT as it was recorded that day including the parts that he was doing credit card or just trying to get his stuff together cause this was clearly a heavy studio-experience. Putting the integral recording on disc makes this record a truly straight-forward, no-nonsense release. Recommended! You can order this release at Hibarimusic [website] in Japan (for 2000 yen it's yours). Here's what another reviewer (Bagatellen) says about the record (in case you need a second opinion before deciding). (*) that would explain the occurence of a credit card in the list with used instruments Bad Alchemy 57 Feb. 2008 (Deutschland)
DEFLAG HAEMORRHAGE / HAIEN KONTRA - HUMILIATED (CD by Tochnit Aleph) Packaged in a silver anti-static bag along with two printed cards one having dense self indulgent text "My excrement hallucinatory rejections of a concrete reality.." and even denser overwritten text with photographs of blurred hand writing on the reverse. When tracked down - (they give no address) the following amongst other can be found "" "[sic] GOLDIE - drums, voice, credit card, amplifier, stereotaxic. MATTIN - GNU/Linux computer feedback, voice, guitar. Formed in East London in 2001... perform internationally... work with noise, silence and abjection... transgress all notions of what a performance can be without imposing aesthetic or moral limits... two of the most unpredictable and 'conceptual' contemporary sonic activists... "[sic] Goldie is one of the most original noise musician/performers on the European scene... from any current or cultural influence, Goldie's work places itself in a unique conceptual universe, ..DEFLAG (etc) collaborated with some of the most radical and legendary musicians in the avant-garde such as Eddie Prevost (Prévost?) (a *Jazz* drummer!) and Philip Best " And continues with reviews from Dan Warburton (The Wire). &...Nick Hobbs validating their oeuvre. Actually despite all this the piece begins with guitar / drumming noise @ 3 minutes a lot of shouting - everything then goes quiet and we hear a silly child voice and chimes? to give way to more shouting and noise finale. When was The Two Virgins series released? I'm sorry this is weak avant gardeism of the 1960s - no wonder Eddie and the Jazz heads want in. They *do not* transgress notions or moral limits or is there anything original here, certainly no unique conceptual universe whatever that might *mean*- but you might start by checking out the work of such as Fowler and the ideas regarding the current state of sonic art in "in the blink of an ear"- The only post-modern credentials they have is passing off clichéd rubbish as art given a set of an influential clique in line with Damien Hirst's (successful) objective, so the whole thing might be an ironic gesture - at least that is an excuse. otherwise as a quote they give from A&Lers Michael Baldwin, Charles Harrison, Mel Ramsden from 1994 states "To mistake the causes and reasons which originate cultural practices for the causes and reasons which make it possible to go on with those same practices is a species of immaturity which terminates in Stalinism, or in some even worse adolescent disorder." which is sufficient even given the pedigree/praise above to write this off as "embarrassments and pettinesses " I suspect and hope that the self regarding, self pitying narrative is just a post-modern ploy, through I'm aware of an enormous anti-intellectualism (read anti-human) tendency in the Stalinist Jazz Mafia/Media. (jliat) Address: http://www.mattin.org/DHHK.html Bagatellen (USA)
"A lot of brackets and "sics" here, but essentially this is two lengthy discs of solo percussion and noise by Goldie. The first, "White Peristaltic Interrogations", is largely percussive and the more successful of the two. The general tone is dark, groaning and chaotic and one has the impression of a musician throwing himself in among his tools. In fact, I was reminded of Z'ev more than once. The second disc is in more of a screaming noise mode and less interesting to me because of that. Both clock in at over 70 minutes and are arbitrarily divided in dozens of two minute tracks. While the first disc varies attacks pretty well, they both linger too long to hold my attention (! Did I say, "Attention?"). It's a good effort though and Disc 2 (bearing a title that trips off of one's tongue: "Devocalised Fluchverdächtiger/Blocksperre Refluxur [sic]") will doubtless provide a goodly amount of enjoyment for the more No Fun oriented listener. Posted by Brian Olewnick on November 14, 2007 5:57 PM".
DEFLAG HAEMORRHAGE / HAIEN KONTRA LUXURY Reviews - The Wire (Dec. 2005 U.K.) The long awaited debut release of Deflag Haemorrhage/Haien Kontra aka Mattin (guitar, vocals and computer feedback) and " "[sic] Goldie (drums, vocals, disc, chain and bird whistle] comprises 15 tracks recorded between July 2002 and November 2003. It includes one truly scary field recording made by Zoe Broughton at Huntingdon Life Sciences back in 1997, where she was working undercover for a Channel Four documentary to expose the notorious animal research facility's appalling cruelty to animals (see www.shac.net/HLS/exposed/broughton.html). A concert or album of unrelenting ferocious noise, whether by Hijokaidan, Borbetomagus, Merzbow or The Dust Breeders, may be a highly enjoyable rush of pure adrenaline, but it's no longer exactly a surprise. Mattin and Goldie can burst eardrums as well as the above - watch your speakers on the apocalyptic "Submucosa" - but they've learnt their lowercase lesson well, and use disturbingly quiet passages and slow menacing drones to equally devastating effect. Mattin is as unpredictable as ever, lurching from the kind of delicate laptoppery that graced his Grob release Building Excess with Klaus Filip, Dean Roberts and Radu Malfatti, to blasts of unmitigated sonic terror that will melt the fillings in your teeth. His guitar work and vocals are just as extreme, especially on the splendidly titled "It's Not Your Fault You Are The Authentic Version Of What The Rest Of Us Can Only Imagine", apparently recorded live (listening to the screams of terror and the vicious thudding of heavy chains I'm glad I wasn't there). Goldie's drumming is savage and ritualistic, from the isolated explosions of "Humiliated" to the all-out blitzkrieg of his solo offering "Lacguage = Noumenal Sarcoshyce"[sic] (a whole page of similarly impenetrable logorrhea adorns the 6" x 8" album cover), but it's refreshingly far removed from both free jazz and Improv percussion cliche, even though I suspect his collection includes a fair number of Eddie Prevost albums. Luxury is an album of awesome intensity, one that deserves to be blasted mercilessly from a 40,000W PA outside Huntingdon Life Sciences every day until the torture ceases. Dan Warburton. The Wire
Atmosfera biziko paisai isil hauek mundua laister bukatuko dela pentsatzera eraman zaitzakete, eta hala da. Bapatean, gutxien espero duzun momentuan, amorruz beteriko bateriak, gitarra adardunak eta buztana duen ordenagailuak ikaragarrizko zalaparta sortzen dute. Zakarkeriaren eta gogortasun latzenaren arteko inprobisazioak. Baten batek Fluxus zaratazalea edo inprobisazio kontzeptuala bezala definitu duen 73 minutu luzeko lana. Zalantzarik gabe “musika zitala”ren hasiera da.
Los silenciosos pasajes pero con intensas atmósferas pueden hacerte pensar que el mundo se va a acabar pronto, y así es, de repente baterías rabiosas, guitarras cornudas y un ordenador con rabo crean un alboroto que sabe dios qué es. Improvisaciones que se mueven entre la brutalidad y la austeridad. 73 minutos de lo que alguién a descrito como improvisación conceptual o fluxus ruidista. Con toda seguridad este es el principio de la “música miserable”.
The quiet but intense atmosphere in this record might make you belive that the world is going to end up soon, and it does, suddenly drums, guitars and computer make a rackett when you least expect it. This improvisations move between brutality and austherity, 73 minutes of what somebody has described as conceptual improvisation or fluxus noise. For sure the beggining of “abject music”.
Atmosfera biziko paisai isil hauek mundua laister bukatuko dela pentsatzera eraman zaitzakete, eta hala da. Bapatean, gutxien espero duzun momentuan, amorruz beteriko bateriak, gitarra adardunak eta buztana duen ordenagailuak ikaragarrizko zalaparta sortzen dute. Zakarkeriaren eta gogortasun latzenaren arteko inprobisazioak. Baten batek Fluxus zaratazalea edo inprobisazio kontzeptuala bezala definitu duen 73 minutu luzeko lana. Zalantzarik gabe “musika zitala”ren hasiera da.
Los silenciosos pasajes pero con intensas atmósferas pueden hacerte pensar que el mundo se va a acabar pronto, y así es, de repente baterías rabiosas, guitarras cornudas y un ordenador con rabo crean un alboroto que sabe dios qué es. Improvisaciones que se mueven entre la brutalidad y la austeridad. 73 minutos de lo que alguién a descrito como improvisación conceptual o fluxus ruidista. Con toda seguridad este es el principio de la “música miserable”.
The quiet but intense atmosphere in this record might make you belive that the world is going to end up soon, and it does, suddenly drums, guitars and computer make a rackett when you least expect it. This improvisations move between brutality and austherity, 73 minutes of what somebody has described as conceptual improvisation or fluxus noise. For sure the beggining of “abject music”.
Defusing preconceptions of what a live event should be and degrading its components - the sound, the performance, the audience - without imposing aesthetic or moral limits: this is the reason for being of Deflag Haemorrhage/Haien Kontra, the project born in 2001 from the minds of two of the most unpredictable and 'conceptual' contemporary sonic activists: Mattin and " "[sic] Goldie. Ferocity and immobility, instruments abused and unused, musicians zombiefied in their 'stage persona' and in general the sense of psychosis, of necessary superfluousness that gushes from every gesture, from each decision taken by this anglo-basco duo make their live event an experience that is all but impossible to relate to, at least until they've stripped you of the costuming of dominant culture. " "[sic] Goldie is one of the most original noise musician/performers on the European scene. His double album "ABJECTOR"[sic] is a violent and considered examination of the fragmentation of language, the de-composition of instrumental research and the painful suffering that accompanies it. Far from any current or cultural influence, Goldie's work places itself in a unique conceptual universe, and its cruel voice warbles a mix of agony and ecstasy.
Valerio Tricoli, Netmage Festival, Italy 2009
NICK HOBBS (Istanbul) Very rad, impressed by the silences and use of sound blocks rather than much resembling playing, the screamy parts (and public participations) are harrowing, don't know quite how to digest those as a listener, as music, those parts especially cross into performance art, probably you should perform naked and spill body fluids onto your instruments (i'm not joking), maybe while Mattin retained a full-body cool cloak of clothing, i don't know if your boldness, angst, and variously directed irony-free loathings, want to enter into Diamanda Galas territory of staging the sound, and staging the performer, so that the look of it all integrates into the psychotic soundworld, but i could imagine that, you'd probably be locked up, but what the hell, would be worth doing enough times for the forces of cultural order to take note - and then drop it and go pastoral and the vid would be a gem of violent sound-porn, the SM fantasies conjured up are quite rousing, not enough to make me leave my respectable monogamous and intermittently delightful life but anyway enough to disturb me with visions of fucking you in public over a drumkit i've been considering aesthetics of ugliness lately, in my lecture on flamenco especially, but flamenco (even in its most extreme and raw forms) is musical, your territory seems somewhere rather other, inviting iraq into the kitchen while spewing it out and cooking a stew track 1 is unlike anything i've heard, congrats especially for that, also track 10 stands out, it reminds of the Chapman brothers, and track 13, a swarm of b52s over a hot desert, track 14 a firing squad with a well-developed sense of sadistic job-rush (would they still shoot if some blonde bombshell tugged off their breeches and sucked them bone-dry? is that all it'd take to salvage utopia?) i tease myself with idle questions, who are the goodies and badies? are we all schizoid? is the way out of hell via catharsis, or is that the way in? long live Pasolini and Bill Burroughs but accursed be Genesis Porridge"
When he came back in the spring of 2009, and performed with " "[sic] Tim Goldie, they located, at the intersection of impressionism and expressionism, this place where despite the emasculated rock on the radio and the cream-puff muscleman noise machines, white men performing can still make a sound and be sexy, and have class. Gone was the pube/dick-cheese of Seedbed or Stelarc, what we got was a streamlined, aerodynamic performance art that is nothing less than groovy. Within the language of existentialism, banalities and non-emphasis, Mattin managed to extract an essence that's in short supply but thirsted for at the moment; of what's good in black metal aesthetics, the flavour that cruises through Steven Parrino's artwork, that sensory experience that the eighties were, in my head, before I really got to know them. Like if Cold Metal was actually an amazing album. They transformed Harsh Noise Wall into High Net Worth. http://www.arteleku.net/noise_capitalism/?p=321
Touching Extremes (Nov. 2005, Italy) Under these peculiar monikers hide percusssionist (and yeller) " "[sic] Goldie and Mattin, working intently in a "Borbetomagus meets Morphogenesis" nihilist sonic assault through an array of instruments including percussion, guitar, chains, bird whistle plus electricity and feedback. This is one of those records belonging to the love/hate category, as Goldie literally rapes drums with devastating rage while Mattin provides most of the scorching-burning-piercing-corrosive materials, destroying any notion of conventional guitar playing while leaving ground noises and feedback to dictate their own law. All tracks are a no-overdub collage from live improvisations and the audience response - when audible - is pretty enthusiastic. Amidst a bliss of distortion and furious acrimony, sometimes a silent or more tranquil fraction appears unexpected, reinforcing the shocking power of the duo's eruptions. Like it or not - I did - there's no question that these guys are for real. Massimo Ricci Blow Up Magazine (February 2006, Italy) A entrambi. Senz'altro meglio la collaborazione col percussionista " "[sic] Goldie, a nome Deflag Haemorrhage/Haien Kontra: una serie di improvvisazioni primitive e brutali tra feedback e batteria, per sedici fratture scomposte che, pur non disdegnando di ammutolirsi in silenzi a singhiozzi, dipingono quadri di grande tensione. Molto, ma molto interessante. (7)
Valerio Mattioli
Valerio Mattioli
" "[sic] Goldie arrives armed with grenades camouflaged in papaya skins and twenty years of nail clippings in a jar… on a mission to turn the world upside down inside out every wrong way but right. A great poet-percussionist and performance artist in his own right. Tim used to host Oligarch Shit Transfusion nights at the Foundry, and is often known as Noumenal-Animal. He has recorded a very strong CD which goes by the names of "ABJECTOR"[sic] and many more with his collaborator Mattin. - RADIO JOY
Metamkine (Nov. 2005 France): 'Luxury'... Où il s'agit d'improvisations (duos et solos) de Goldie et Mattin. Batterie, ordinateur, guitare, disques, voix. Sens du spectacle, joie communicative de et dans l'improvisation, amour des espaces (déclarés plus ou moins franchement) bruitistes et des lieux réverbérants. Un CD où l'on devine leur intérêt pour la scène et ses matières, 'live act'... Insolent, vif! Et amusant ! Ouf! Enregistrées entre 1997 et avril 2003. Mastering réalisé par Daniel Beattie.
http://www.neural.it/sound/2009/03/_sic_tim_goldie_abjectorsic.phtml [sic] Tim Goldie - Abjector [sic], Hibari, audio-art, noise, experimental, free form, White Peristaltic Interrogations, Devocalised Fluchtverdachtiger/Blocksperre Refluxur, electronic dance, remix, house, techno, beats, electro, Jaurelio, Wicked Style, wickedstyle italiano, Aurelio Cianciotta, TimGoldie_Abjector.jpg 2CD - Hibari Harsh digital sounds intertwine with improvisations structured as a percussive matrix. With audio-abuse, distortions and an extreme use of the human voice, Tim Goldie severely tests both the taste and analytical skills of those less accustomed to radical electronic and experimental music. The double release album 'Abjector' establishes the noisy nature of its project early on. The first CD, 'White Peristaltic Interrogations' consists of bursts of pure, striking energy, diluted only by occasional free-form flow and silence. The work generates auditive elements that appear to shun any method, while maintaining an overall sense of being self-organized. The second part of the record reveals no diminution of style – it too provokes a genuine insurrection of the senses. 'Devocalised Fluchtverdachtiger / Blocksperre Refluxur' brings an abundance of excesses, including hisses and strident frequencies, a hyperbolic industrial mix and mechanical digressions in sound. The approval-rating of this record will be controversial but it sports undoubted strength and stylistic charm. Aurelio Cianciotta The Broken Face
If Herman Hostia is a bit surprising then Deflag Hamorrhage/Haien Kontra's (AKA Mattin and Timothy Goldie) Luxury is closer to what I've come to expect from Mattin. Things start on a quitely intense note but that's seemingly just to trick us to stay on board their vessel to free jazz/noise/computer feedback hell as things only get more and more extreme the further the album continues. When we've reached "Submucosa" you'll find yourself in the midst of the sort of shrieking laptop/feedback mayhem that just a few of you will enjoy. But in the midst of the unalterable noise Mattin and Goldie also leaves some space for quieter lowercase sections and drone fragments. I can't honestly say that I will listen to this disk on repeated occasions but I love the fact that I continue to be surprised by this very demanding sonic stew all through its 73 minutes. Mats VITAL WEEKLY number 492 week 37
If Herman Hostia is a bit surprising then Deflag Hamorrhage/Haien Kontra's (AKA Mattin and Timothy Goldie) Luxury is closer to what I've come to expect from Mattin. Things start on a quitely intense note but that's seemingly just to trick us to stay on board their vessel to free jazz/noise/computer feedback hell as things only get more and more extreme the further the album continues. When we've reached "Submucosa" you'll find yourself in the midst of the sort of shrieking laptop/feedback mayhem that just a few of you will enjoy. But in the midst of the unalterable noise Mattin and Goldie also leaves some space for quieter lowercase sections and drone fragments. I can't honestly say that I will listen to this disk on repeated occasions but I love the fact that I continue to be surprised by this very demanding sonic stew all through its 73 minutes. Mats VITAL WEEKLY number 492 week 37
Arie e Capito lismo Rebelde (mrb/amm) Septiembre 3rd, 2009 Atzo etxean nengoela semealaben lagun batzuk etorri eta galdetu zidaten zer nolako soinutan nenbilen. Esan nien aire (kantu) eta eri dardarretan nituela gogoak. Adibide CD bat jartzeko galdetu zidaten (txotxolo horiek!) eta nire anplifikagailuari begirada bat eman, maletatik atera berri nuen Mattinek lehengo astean oparitako HUMILIATED CDa atera eta indarra eman nion tope. Lehenengo pieza hasi ta kitarra entzun zen, 40 principaleseko modukoa edo. Harrituta geratu nintzen lehen 10 segundutan, bapatean zarata-txistu-danbada-azkaburrunba lehertuko ote zain. Ez zetorren baina. Semeen lagunek sin mas begirentzuten zuten: zein da? Mattin, esan nien, zarata eta kapitalismoari buruz ari da azkenaldian, gauza estremoak egiten ditu. 30.garren segundura iristerako urduri nengoen, noiz hasiko den umiliazioa. "Fragilmente grita hasta donde tu estás, Ahora grita mi padre. Yo me malgasto mi futuro ….." Letrak oso mattinistak iruditzen zitzaizkidan eta kitarra akustiko eztitsua eta rec modua …. kontraste ikaragarria …. espero nuenarekin esan nahi dut. Sorpresa, pentsatu nuen, Berlin ote. Popatik hartzen ari zaigu. Alde batetik atsegin nuen baina bestalde nolabait lotsatzen hasi semeen lagunen aurrean (haiek ordea sin mas entzuten), nigandik garratzagorik espero zuketen ba, ta ni Haien Kontrakorik bota nahiean, ipini Deflag Haemorrhage eta 80 hamarkadako punka bezain popero iruditzen zitzaidan CDa. (Garai hartan ez nekien punka popa ez zenik. Ezjakintasuna zen nonbait) Urduri, 2.garren kantura saltarazi nion CDari , "Te encuentro despierto. Me dices lo siento" …. bai letra honek ba zuen klase borroka eta engaiatzearekin zerikusirik eta orduan galdetu nien: "Capito?" Haiek baietz edo en fin edo bueno. Ea Mattin horrek zer gehiago egiten zuen galdetu zidaten eta bereziki ea ezagutzen nuen. Ba zen honezkero minutu eta erdi CD adi ginela (eta denok dakigu zein den amaigabe) eta batek esan zidan, "beh, per fare questo non c'è bisogno di saper suonare molto" (ez da trebe izan beharrik hau jotzeko). Nik baieztatu, XX mende hasieratik teknikarengandik aldenduak bizi ahal gintezkela delako artean …. Diskusiotxo bat izan genuen hortaz, topiko merke horietaz (Picasso aipatu zuten ere, bai bai). "Forte questa musica" batek. "Boh, una merda" besteak. "A me l'arte non m'interessa" hurrengoak. Momentu horretan sartu zen alaba etxean eta galdetu zuen zertan ari ginen bere REBELDE diska entzuten. "Humiliated" zela esan nion bainan hark ezetz ta nik baietz. Ireki genuen porta CDa eta han zeuden bi CDak, Haien Kontra Rebelderen gainean. Capito? alex
Two new releases on the W.M.o/r label, run by Mattin, and he plays on one of them, being the one by the oddly called " "[sic] Goldie. He or she is a drummer, who also plays occasionally bird whistle, chain, voice and disc. Mattin plays guitar, computer feedback and voice on a few tracks. All tracks are recorded during improvisations in 2003, except track twelve, which is also not credited to the artist, but says 'Field Recording At Huntingdon Life Sciences 1997'. The first few tracks sound relatively normal in terms of improvisation, but once he starts adding bird whistle, things become extremely noise related, with lots of feedback, cable hum and hectic distorted drumming. Beyond this point, track seven or so into this release, things are furious as hell. With sixteen tracks it's a bit long for such a chaotic and heavy release, but lovers of true free-jazz noise know to appreciate this in its entire length. I prefer a smaller doses at certain times.
Daniel Beban
Daniel is a musician and sound artist who lives in Wellington, New Zealand.
He performs on a number of different instruments in groups including Orchestra of Spheres, Imbogodom , Sign of the Hag, Little Wet Horse, Doctor Quirky’s Goodtime Emporium Band, The Mantarays and Slakes / " "[sic] Tim Goldie. He has recorded and released many albums including two Imbogodom LPs on Thrill Jockey and the Sphere’s debut LP ‘Nonagonic Now’ on Fire Records.
In 2009 Daniel founded the Frederick Street Sound and Light Exploration Society. Fred’s was an important centre for creative and experimental music and arts in Wellington from 2009-2012, holding regular gigs, festivals, exhibitions, workshops, film screenings, recordings, rehearsals. Since the closure of Fred’s the Sound and Light Exploration Society has been putting on shows in disused spaces around Welington and a new festival called Rising Tides.
Daniel builds invented instruments out of found objects. Recent instruments include the water organ (installed at the Karori Wildlife Sanctuary – Zelandia), the prepared spinning wheel, the huhu organ and the biscuit tin guitar. Daniel was trained as a Studio Manager at the BBC World Service and works as a sound engineer for Radio NZ and BBC World Service.
"Those who nail their cultural reasons irrevocably to the mast are impelled as a matter of urgency to seek the conditions of acceptance of their self-descriptions as innovators. It is under the rule of those conditions that whatever is made must then be distributed. Certain substantive critical issues being treated as effectively settled, or dead, what follows as a necessity is not that the practice be remade in the image of its innovatory moment, but rather that its habits be perpetuated as protocol. The critique of a dying culture for which the innovatory moment may originally have been the occasion is thus turned into the edifice upon which the practice is itself perpetuated. This not to say that any old fleetingly 'experimental' questioning is ipso facto important, but merely to reclaim a sense of historical reality and expediency for the idea of practice. To mistake the causes and reasons which originate cultural practices for the causes and reasons which make it possible to go on with those same practices is a species of immaturity which terminates in Stalinism, or in some even worse adolescent disorder. To go on doing what one is doing for the same reasons that one started doing it is to forget the inevitable contingency of those reasons; or it is to turn them into bureaucratic or mercantile necessities. When expedient justifications have to be thought of as principles of validation, and dodges as significant transitions, it tends to mean that someone is in process of forgetting their own history - its indignities and embarrassments and pettinesses - so as to extrude a past self as dignified and as important as they mean to appear in the present."[sic]
Art and Language. Michael Baldwin, Charles Harrison, Mel Ramsden
Art and Language. Michael Baldwin, Charles Harrison, Mel Ramsden
Phosphor Magazine(Oct. 2005-Berlin) Deflag Haemorrhage / Haien Kontra: Luxury CD Behind those strange artist names hide Goldie and Mattin. Those two composers present something one would not expect from them, if one is familiar with their previous material or after opening the beautiful package. Timothy Goldie and Mattin come up with a collection of robust and raw improvisations. Mattin's heavy guitar feedback and Goldie's intensive percussion make that the listener is confronted with a primitive musical struggle. It's like creating with a punk or Fluxus attitude and pushing things to the edge by means of screaming and terrorizing the audience with high volume and deteriorating outbursts. It's emotional, full of energy, but not mentioned to leave a long-term impression. The first shock might be sufficient enough though!
http://www.metamkine.com/?
Collectée par Chris Abrahams (pianiste, membre de
The Necks, ici au DX7) et Clare Cooper (membre fondatrice du festival
Now, ici au guzheng, une harpe chinoise), une copieuse collection
d'improvisations pour harpe chinoise et DX7 enregistrées entre 2003 et
2008. Une suite d'études ambitieuses pour un clavier (synthése en
modulation de fréquences) japonais des années 80 et un instrument à
cordes chinois du quatorzième siècle. Un double CD avec poster pour 198
pièces sonores (d’une durée de cinq secondes à huit minutes) que le
label compare à autant de maux, égratignures et démangeaisons. Le poster
a été réalisé avec la participation graphique de nombreux musiciens,
proches et amis, comme Xavier Charles, Tetuzi Akiyama, Clayton Thomas,
Alex Davies, Andy Fenchel, Mazen Kerbaj, Ming Wei, Werner Dafeldecker,
Uri Auerbach, Taku Unami, Mickie Quick, Tomoya, Annette Cooper, Margaret
Kammerar, DD Kern, Jeff Henderson, Aisha Ronniger, James Hancock,
“ ”[sic] Tim Goldie,
Ally Cooper, Sachiko M, Asi Foecker, Kowski Divine, Gail Priest, Robbie
Aveneim, Peter Farrar, Thomas Meadowcroft, Thomas Meadowcroft, Anthony
Magen, Christof Kurzmann, Jasmine Guffond, llucia Sanchez, Melody
Willis, Newton Armstrong, Alkex Mainey, Susanna Gartmayer, Chris
Abrahams, Clare Cooper, Toecutter, Burkhard Beins, Annette Krebs, Andy
Moor, Andrea Neumann, Adelle Robinson, Lawrence English, Lianne Smith,
etc. Mastering réalisé par Chris Townend. Objet soigné de format 14 cm x
18,6 cm.
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Le duo Timothy Goldie (" "[sic] Goldie)
et Mattin débute à Londres en 2001, travaille internationalement, joue
avec le silence, le bruit et l'abjection, transgresse toutes les
pré-conceptions de l'art performatif. Réédition de leur premier CD sorti
initialement sur le label de Mattin en 2004. Batterie, ordinateur,
guitare, disques, voix. Sens du spectacle, joie communicative de et dans
l'improvisation, amour des espaces (déclarés plus ou moins franchement)
bruitistes et des lieux réverbérants. Un CD où l'on devine leur intérêt
pour la scène et ses matières, 'live act'... Insolent, vif ! Et amusant
! Ouf ! Enregistrées entre 1997 et avril 2003. Mastering réalisé par
Daniel Beattie. Format A5 dans une pochette plastique sous vide.
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Voix, batterie, ampli guitare, câbles. Enregistré
avec le volume au maximum de l'entrée du DAT, saturations continues, le
cri excite la batterie, la voix joue de la caisse claire et le feedback
fait des siennes Une véritable déflagration, comme une version
ultra-punk de 'Music for solo performer' d'Alvin Lucier. Coproduction
w.m.o/r et Hibari music
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Étrange et détonante rencontre entre " "[sic] Tim Goldie
(batterie) et Daniel Beban (tous les autres instruments). Étrange car
insaissisable même si marquée par une énergie noise et la soif
d'expérimenter, étrange car on croit parfois écouter la chute d'un set
de batterie dans les escaliers d'un entrepot abandonné. Détonante car
oui l'énergie et l'électricité sont de la partie et sans consensus.
Ensuite l'enregistrement est également utilisé dans ses limites et
possibles pour souligner le tout. C'est tout simplement excellent !
Satisfera autant les amateurs de Whitehouse que ceux de Mattin.
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Un recueil de textes de Mattin avec également des
interviews et d'autres signatures. En anglais seulement. Une publication
réalisée dans le cadre de l'exposition 'Noise &
Capitalism-Exhibition as concert', au Cac Brétigny, du 1/09 au 30/10
2010. Format 18 x 24 cm. Mattin en collaboration avec : Loïc Blairon,
Ray Brassier, Emma Hedditch, Esther Ferrer, Jean-Luc Guionnet, Anthony
Iles, Matthieu Saladin, Howard Slater, Jarrod Fowler, Taku Unami,
Zibigniew Karkowski & Evil Moisture, Diego Chamy, " "[sic] TIM GOLDIE, Malin Arnell, Ilya Lipkin, Barry Esson, Loty Negarty, David Baumflek, Daniel Lichtman, Maija Timonen,
Anne Duffau. Avec les contributions de: addlimb, Billy Bao, Marcia
Bassett, Loïc Blairon, Ray Brassier, Diego Chamy, Janine Eisenaecher,
Barry Esson, Ludwig Fischer, Jean-Luc Guionnet, Michel Henritzi, Anthony
Iles, Alessandro Keegan, Alexander Locascio, Seijiro Murayama, Loty
Negarti, Jérôme Noetinger, Andrij Orel & Roman Pishchalov, Acapulco
Rodriguez, Benedict Seymour, Julien Skrobek, Taumaturgia et Dan
Warburton.
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The London Fields Boys, Mattin, Daniel Beban, Tai Shani, John Wild, Worm, Matthew Noel-Tod, Philippa Beale, Laura Oldfield-Ford, Philip Best, Consumer Electronics, Valerio Tricoli, Mark Aerial Waller, The Band of Holy Joy, Nina Power, Alfie's Glue Ear, Johny Brown, Radio Joy, Ulrich Kreiger, Eddie Prévost, The Grimprov Ghetto, Whitehouse, Evan Parker, John Edwards, Penny Rimbaud, Michelle Naismith, Seymour Wright, Rashad Becker, John Wall, Penny Rimbaud, Eve Libertine, John Wild, Barry Esson, Arika,
Ph. Simon, Tochnit Aleph, Matchless, Clunk, Mark Wastell, Max Reeves, Kirsty Goldie, Lucy Goldie, Simon H. Fell, Michael Curran, Phil Minton, Mute Magazine, Stefanie Singer, Stephen Elcocks, Read And Destroy, Tim Leighton-Boyce, Ms. Kostick, Alan Wilkinson, Michael Curran, Resonance FM, South East Kingz, Nikolai Galen, Elliot Howard, Jean-Luc Guionnet, Matthew Hyland, OM, Romuald Wadych, Controlin' Arts, Michael Rodgers, Marina Vishmidt, Anthony Iles, Ross Lambert, Shirley Chillaxalotte, Howard Slater, K3Y, VANZ, Denis Dubostev, Donna Ewing, Carol Murphy, Richard Beales, Sharon Gal, Matthew Hyland, Anja Buchele, TOTAL ASBO, Christioan Koeder, Jason Buckle, Jasmine Jefferson, Pinky, Jer Reid, Midgetti Machete, Barbro Nordling, Alex Jako, Miffy da Muffocator, Brown Sierra, Sac Magique, Paul Abbott, Skore, Fergus Macmillan, Antonia Doggett, I.A.F Impotence Anxiety Faction, Hiber Loft, Natascha Priklopil, Maya Lubinsky, Invert, Reem, David Panos, Anja Kirschner, Clive Lineham, Mista Dexter, Anthony Guerra, Plan, The Warlords, Martyn Singleton, Emma-Jane Taylor, Barbara Speer, Artistic Vandals, Will Guthrie, Ken Hyder, Cus One, Sylvia Hallett, VomiTimoV Sarcofaguzi, Maggie Nichols, Ceramic Rabbit, Noumenal Room, Team Sano, Big Ed, Nishide Takehiro, Demetra Kotouza, Paedophobic Blackout, Tina Borkowski, Bark Psychosis, The Creatures, Graham Sutton, Amy Botfield, Debby Lauder, Helen Stratford, Helen Judge, Honor Carter, Julie Brenot, Mark Ross, Patricia Derrick, Sally Jane Webster, Daniel 'Gravy Eagle Eye' Lee, Peter Sotos, Nick Barber, Dave Mitchell, Mark Eitzel, Simon Mullen and Gloria Sayer, Bertrand Denzler, Uni, Matt Davis, Malcolm Goldie, The Criminally Minded, Steve Dutton, Bus Killaz, LUX, Douglas Park, Stewart Home, Percy Peacock, Richard Beales, Daniel Löwenbrück, Clem Crosby, Sharon Gal, ICA, Victim, Elizia Volkman, Robin Ellis, Kyran Lynn, Sammy, Avi Pitchon, Springfield, Blodwyn, Daryn Brown, Anne Duffau, Chips for the Poor, Cameron Bain, John Wollaston, Nick Phillips, Sandy Carson, Glue, Monica Vecchiotti, DBZ, Dominic Buzzard, The Dentist, BSD, " "[sic]™, Alan McNaughton, Allon Kaye, Entr'acte, Douglas Park, Big Ed, Glue, DJ Paws, Tom Hirst, Nick Hobbs, Adam Bohman, Jonathan Bohman, Rech, Robbie Knight, Joel Stern, Pia Borg, Sandy Kindness, Moshi Honen, Tom Perchard, Vanessa Thompson, King Rif, Margarida Garcia, John Lely, Daniel Beattie, Rohan Thomas, Wolfgang Fuchs, Denesh Shan, Ratkin & Batkin, Radiance Audio, Peter Gates, Oligarch Shit Transfusion, Sebastian Lexer, The Boxing Club, Tracy Moberly, Jonathan Moberly, Rupture, Mo Goldie, Hector Goldie, Cyrk, Styxy, Lifeline, Mummy Bear, Bo Goldie, Ass Destroyer Against Animal Abuse, Big Nice, Merlin Carpenter, Sharon Gal, Barbro Nordling, Robin Bale, Dead Days Beyond Help, Andressolo, Floyd Thorpe R.I.P, James Dyer, Caravelle, Tom Dyer, Reem, Cam, Fun, Fat Cat Records, Pansy, Stewart Home, Laura Wirtz, Synthesis, Suzy Sunday & Rubenstein Dienstag, X Marks the Bökship, Patrick 'Pastry Trickle Ratprick' Constable, Selfish Cunt, Wise Owl, Da Banditz, Gavin Turk, Long Man, Crimes for Minds, Laura Philips, Helen Palmer, Damon and Justin Mayhew, South London Sharks, Gyda Charles, Sarah Bate, Mark Ward, Design A Wave, Groupuscule Skewer and unuforgotten significant others...
