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Fort Process 2015

70 steps into Fort ProcessNewhaven Fort, East Sussex 13 September 2014

Wow! This place was superb!! A semi-ruin with a labyrinth of white-clad tunnels eating into the gloom, the natural reverb promoting plenty of pseudo monk fun. The weathered solidity and teasing signs of atrophy, the stonework full of weird apertures that once occupied armoury now harbouring a host of musical oddness.

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Godflesh/Philippe Petit (live at Le Korigan)

Aix-en-Provence 19 May 2013

Godflesh at Le Korigan A night of metal and more in one of the heartlands of Provence; not an area generally well-known for its enthusiasm for all things dark and loud. Luynes is a placid near-suburb of Aix-en-Provence, and close enough to Marseille to bring a decent audience from the current European Capital of Culture and beyond, but Le Korigan (a mischievous Breton elf-like creature – none more metal a name) is also far enough from the neighbours to avoid putting them out of sorts.

The venue, part rehearsal studio, instrument repair centre and music school and part sweaty rock club, is also a haven of noise and subcultural bandname-swapping among the crowd gathered outside to smoke and chat patiently while awaiting the opening of the doors. Lurking nonchalantly among the picturesque villas of a well-to-do town which is

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Eugene S Robinson and Philippe Petit – The Crying of Lot 69

Monotype

The pairing of Eugene S Robinson‘s voice and Phillipe Petit‘s sound manipulations draws on the film noir rule of human nature red in tooth in claw as much as on Thomas Pynchon for this six-part tale of inhumanity and death (of which this is the first of a planned three instalments). Atmospheric and brooding, the conversational delivery of Robinson is laconic, with an underlying menace present throughout, while Petit’s processing splutters, flitters and drones in grim emotional counterpoint which complements the unfolding story perfectly. Add in Rhys Chatham‘s spluttering trumpet work and Helena Espvall‘s cello for extra shades of cinematic chiaroscuro, and the ominous pulp opera unfolds with an avant sense of dread and unease.

Listening to

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Cindytalk & Philippe Petit – A Question of Re-Entry

Lumberton Trading Company

As part of the Lumberton Trading Company‘s limited edition subscription series (others in the set include Glass Out – with vox from the late Jhonn Balance; the ever-crackly Main; Brian Conniffe; Human Greed;and Jean-Hervé Péron plus guests) of 12″ singles, Cindytalk – (AKA Gordon Sharp) teams up with Philippe Petit for a double-A side mini-album.

Taken together, the two sides of vinyl make for an environmental audio travelogue of lengthy proportions, one which rewards the use of both powerful sub-bass speakers and tweeters which can fully capture the higher tones; without wishing to be overly audiophile about such things – though here the benefits compared to an average home stereo setup are noticeable. A good set of computer gaming speakers or a home cinema set would be just as good – as long as there’s plenty of low-end presence

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Philippe Petit (and Friends) – Off to Titan/ A Taste of Garmambrosia & Various Artists – Nonclassical: Remixes and Originals Volume One

Karl/Aagoo/Nonclassical

Classical music, for some, is burdened with various odd stigmas – that it’s somehow posh, academic or too expensive to watch live. In my experience none of these are true – I have the stub of an £8 ticket for a five hour Messiaen opera attended by a musically self-taught scumbag (myself) that will attest to that. And, as purse-strings constrict further day-by-day, the classical music world will episodically fret about bringing in fresh blood. This sometimes leads to pretty ill-advised ventures – Paul McCartney‘s Liverpool Oratorio, for instance being the single most hideous piece of ‘classical’ music I’ve had the misfortune to be assaulted with; more irritating is that it grossed massively.

Phillipe Petit and Nonclassical‘s CDs fall under these ‘making classical appealing to the kids‘ auspices because, in different ways, they’re engaging with the classical world while using external musical developments – turntablism, digital manipulation, remixes and

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