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Editions Mego at De La Warr Pavilion

Bexhill on Sea 11 May 2013

Personal history, you can skip this bit if you like: Back in the late 1990s I discovered what was London’s finest, most idiosyncratic record shop, These Records, following a tortuously convoluted traipse through the back-streets of Elephant and Castle guided by an A-Z and an address label stuck on the back of a second-hand Nurse With Wound CD. Behind the shuttered windows on this unprepossessing residential street, the shop’s wall was lined with a series of oversized cardboard wallets baring unfamiliar, opaque and confounding titles and representations of digital abstractions and oblique geometric forms; MEGO‘s in-house graphic designer Tina Frank‘s representations of what would soon, for better or worse, come to coalesce into a codified ‘glitch’ aesthetic.

What most differentiated MEGO from – say – Carsten Nicolai‘s contemporaneous Raster-Noton imprint, was that Alva-Noto et al seemed in endless pursuit of a mathematical rigour and

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Gravetemple/Russell Haswell (live at Café Oto)

London 13 April 2013

Russell Haswell Cafe Oto April 2013Slipping quietly into the performance area, arch-noisemonger Russell Haswell opens his set with a slow build of spluttering sharp attacks, crawling eventually into chaos wrapped in shards of broken glass spat bloody and still sizzling into the ears of the willing victims in the crowd. Haswell is hunched intently over his boxes of dubious FX, never looking up and playing his devices the noisnik rather than the muso way – hard, brutal and as instruments themselves, an analogue/digital miasma with any emergent beats left to fend for themselves in musical purgatory.

Gravetemple are tonight (the first of two shows they will perform at Café Oto this weekend) the core trio of Stephen O’Malley (also known as SOMA), Oren Ambarchi and Attila

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Russell Haswell – Factual EP/Scandinavian Parts (Immersive Live Salvage Supplement)

Editions Mego/Ideal

Russell Haswell‘s Further 12″ opens with a burst of what could be fireworks, or might indeed be some kind of demented “Black Metal Instrumental Intro Demo” for that matter. The rippling bursts of reverbed drum machine splutter and brap with an apparent randomness which could just as easily be blasting into the sky as into an unlit, dank Norwegian cellar club with spasmodic arhythmia and no sense of blast beats being allowed to kick in. It’s this sort of toying with expectations, especially when if comes to track titles, which makes Haswell so entertaining. That and the crawling chaos of noise which he introduces into the mix; and as with all the best noisemongers, he knows how to judge when and when

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