Bandcloud 301: My 2020 June Hardwaxioms

Aidan here. Quick note. These words and selections come from Jack Murphy. Jack is a producer and DJ who also runs a label called Knowing Something. He recently provided a mix for Blowing Up The Workshop made up entirely of Ricardo Villalobos tracks. Outside of music he's a voracious reader and student of the arts with a brilliant mind, and the guest edition he's provided is trulty fascinating on every level. I hope you enjoy.

https://soundcloud.com/soundsignaturedetroit/we-all-are-georgeous-monsterss-1
https://soundcloud.com/soundsignaturedetroit/we-are-all-georgeous-monsterss-2
https://soundcloud.com/soundsignaturedetroit/we-all-are-georgeous-monsterss-3
https://soundcloud.com/soundsignaturedetroit/we-all-are-georgeous-monsterss-4
https://soundcloud.com/soundsignaturedetroit/we-all-are-georgeous-monsterss-5
https://soundcloud.com/soundsignaturedetroit/we-all-are-georgeous-monsterss-6

Theo Parrish: We Are All Gorgeous Monsterss, Parts 1-6.

https://lesyndicatdesscorpions.bandcamp.com/album/nina-harker
Nina Harker, offer you anything to the echo of your namesake, Mina, beloved of Jonathan? When Jonathan saves Mina from the fate of vampirism, where does that leave Nina? (la niña?) Moving her name from Mina to Nina, the M’s majuscule neighbor along the alphabet, have we not also moved further from a fate of undead immortality? Or obversely does our N halve the M, Nina’s existence half of Mina’s?

Nina Harker, a duo hailing from Nantes (un homme et une femme; apparently, though seems more likely a group of people including Valentin Noiret, Daniel Dariel, and others). Their debut album, self-titled Nina Harker, made way to the world end of last month: excellent, intriguing, a little mysterious — I don’t want to know more just yet !. This cassette, from 2017, I find equally enjoyable to the album. Album Nina Harker carries the full studio feel, a dozen vocalists, et cetera, while Nina Harker cassette has it acoustic guitar more, runtime less ten minutes, cover art plants, a strong yellow contra album cover noir and Harker EP Nina: une photo de Schroeder, Greta the Ellen of Nosferatu 1922.

Vampires in my mind, I listen to the album Nina Harker, the EP Nina Harker, and cassette Nina Harker, I maybe myself draw a conclusion about artists and creation (“to draw” — in pencil; pen? charcoal? garlic? blood?). Proust encourages us to read ourselves, our unconscious like a book if we expect to properly engage with the arts. I also should suggest that same reading partakes in an act of reflexive vampirism on the road to unconscious expression. A fun cassette Harker, a fun Harker album! I hear on my own in my mind works that I imagine this “Nantes” body brought to their studio; all this however lingers in imaginary’s realm.

https://soundcloud.com/imacliche/no-weapon-is-absolute-dj-sundae-03-06-2020-nts-2
Do I leave France ever? No and what grasps me about the country? Certainly, topic for a time different, the question I raise only as one part of mon tableau.

A writer who I love, Rachel Cusk, said several months ago in an interview vis a vis ‘truth’ — to the question what is truth in the work of art(?): “what your reader doesn’t know that they know, but they recognize it when they see it, that is the highest experience of reading, the highest element in the reading experience is precisely that feeling of recognition, of recognition of something that unconsciously you know but it isn’t something you could see, and the writer enables you to see it.” I find interesting considering what exactly resonates revealed within me among any encounter with the work of art: a good painting (or bad), movie, book all do. A list I could here provide of concrete artwork examples would suggest a frame against which you might read that which I offer Bandcloud dans cette lettre. Instead: itself Sundae’s mix; more music.

https://doulikeworldmusic.bandcamp.com/album/dean-blunt-roaches-2012-2019-up-r-d-lux

— Some obsessions take me back.
— This is what pop music is about.

In Dean’s compilation of 52 tracks, of which the track order and selection has changed at least three times since he debuted it, he offers us listeners an opportunity to encounter his attempts to repeatedly express himself.

In an article I read recently written by Rik Loose (great name: rik loose, recluse? rik loose, loose, wreck? reckless?), he notes that when we touch on what we, in response to the opacity of language, invent something in our expression unique to our individuals, we reach what “is the most singular real aspect of every speaking-being,” and that we come to a halt in our attempts to interpret what takes place in our unconscious (again, the site of the creation of art) when we reach that which defines our own unique expression. Language remains opaque, our unique forms of expression fail to overcome that impasse, we find ourselves compelled to continually attempt to repeat these same expressions. (You can sense clearly I revolve myself repeatedly along orbits of same repetitive subjects).

“Theories and subjects of substance is the elementary element that fuels the minds of our Axis” — Jeff Mills, 1994

http://momentsound.com/2009/06/18/jamal-moss-samplepattern-mix/

https://hieroglyphicbeingofficial.bandcamp.com/album/the-illuminati-papers
“I wasn't down with the science of the PR one-sheet, where they are always bragging and saying this is the definitive Virgo sound, this is definitive of Larry Heard or whatever. I would run out and buy these records and be like, ‘It don't sound nothing like no Virgo.’” — Jamal Moss, 2009.

As you read this potentially on a Friday morning, likely I have read already yesterday Con*r Th*mas comparing something to Coil, and I will have clicked on the B**mk*t previews, only to find no traces of John or Peter. “They have failed,” John, the last amethyst deceiver, himself once sang, paying his own respects.

I have included here a mix by Mr. Moss from 2009. I have enjoyed a lot of his recent bandcamp releases, including the attached Illuminati Papers 1. (Though, the series with the beep at the beginning of each track was a bit tough for me, personally!)

As Jamal Moss has said, continues to say: “so much noise to be heard.” A striking assertion for myself as I sit with it. Knowing that we don’t hear “noise,” we hear what emerges from the background of the noise, hearing the noise, the noise of the unconscious that does not stop speaking, and now the so much to be heard reveals itself a compelling observation.

https://lorainejames.bandcamp.com/album/fyai-demos-ditched-album

As observer me, I think it is a very kind gesture from one to oneself to return to work once discarded, to then not only accept it as one’s own art, but to share that then with others. Loraine James sans aucun doute demonstrates generosity towards listener me letting in on prior to times of For You And I and maybe others might feel generous towards their prior to times.

https://soundcloud.com/the-nation/peachblack-rare-roger-4-monacomp3

This for someone who chose to not celebrate their own revolutionary anniversary, Prince, as a representation of his faith. He would have turned 62 this Sunday past. Traxx, taking upon his name PeacHbLack (Melvin’s guise that only makes itself known when playing Prince), has recorded several long shows of Prince bootlegs rare, rehearsals, demos. In the recording on the PeacHbLack Twitch from 21 April 2020 M. PeacHbLack Oliphant played many long beautiful bootlegs. You can find that recording

still now. Here, the initial “Rare Roger” recording has a number of enjoyable and classic Prince live moments.

One of my favorite sports commenters, Bomani Jones, compellingly wrote about Prince live for The Undefeated also on 21 April. His article walks through the live recording from 30 March 1985 that Prince’s publishing house, Lotusflow3r.com made temporarily available, and points out what we miss in Prince’s stage presence. You can read that here [https://theundefeated.com/features/prince-in-his-time-needs-to-be-seen-now/]. While Lotusflow3r has since taken down the 85 recording, Bomani writing on Prince live still rewards a read.

https://noticerecordings.bandcamp.com/album/speckled-stones-and-dissonant-green-dots
Okkyung Lee’s Shelter Press recent rendezvous I praised to friends as “off-kilter ECM New Series trio” or “one of the best Tzadik CDs.” My “or” suggest not mutual exclusion: they mean the same thing. Voici — Speckled Stones & Dissonant Green Dots — the recording has none Organ Ideologic technique unorthodox extended cello of Ghil nor the suite Yeo-Neun trio. Side “Stones” certainly could I want to greet on the dance floor, and side “Green Dots” companion of a mysterious kind to the “Speckled Stones.”

https://eikoishibashi.bandcamp.com/album/impulse-of-the-ribbon
Of the blessings I enjoy in movement towards formats whose only constraint remains my endurance to listen, the attention towards form in the album sits higher on the list. Certainly, hand-wringing merited or otherwise over the overlap of capital and streaming money, the impact this has on art has also risen in this wake. Maybe critics of Spotify signal jamming could sit down with Dean’s aforementioned Roaches and come back after to us.

Left behind in demise of AOR & Co., one turn has taken the montage as the formal dimension within the recording. It was much easier for artists to suggest within the cassette itself or an LP that I listen to an entire recording, as fast forwarding the cassette my father never allowed when the family van had Cameo Word Up, while on CD, mp3, etc I could stomp endless to “Tearin’ Up My Heart.” Now that more people can, artists now invite us to listen to their long form recordings: Hour House’s Chiltern of two long sides digitally, etc.

Frequently, long form recordings take the form of either a collage of a number smaller sketches mostly strung together with minimal blending, or of one (or two) longer pieces put together. With Impulse Of The Ribbon Ishibashi does something in between — as if the recording consisted of a number of different elements: some arrive and depart only to arrive again later others show up briefly only to not return again. What can the formal qualities of Impulse Of The Ribbon suggest? Aujourd’hui, je ne vous encombrerai pas. (“mon dieu” vous dites, et je vous écoute).

https://weevilneighbourhood.bandcamp.com/album/zocsof
— Zocsof
——— Socks Off
—— Osaka’s Masataka, Torimi album Weevil full debut length.
— Twisted beat science, 36 minutes. Outstanding, next-level affine drum and bass effective highly enjoyable.
—— Scienciencwisteted Twisciedrumbadruspace Citytwisteffectizozocsoftwist sciedrustience.
— Off sockscience drum space twist crispidm hybridities tuffantascience.
—— [Bloomsday Tuesday This My Own Doomsday Boomkat Day Thursday]

Bibliography
Jones, Bomani. “Prince in His Time Needs to Be Seen Now.” The Undefeated, 21 May 2020, theundefeated.com/features/prince-in-his-time-needs-to-be-seen-now/.
Loose, Rik. “Art and Psychoanalysis Beyong (Lack-Of) Being.” The Lacanian Review, no. 9, 2020, pp. 223–227.
Louisiana Channel. “Rachel Cusk Interview: You Can Live the Wrong Life.” YouTube, 7 Nov. 2019, https://www.youtube.com/watch?v=kGg_6BGIHuM
Mills, Jeff. Waveform Transmission Vol. 3, Tresor, 1994.
Smith, Lee. “Label of the Month: Mathematics.” Resident Advisor, 24 Nov. 2009, www.residentadvisor.net/features/1127.