27/8/2005


RIP
Denis 'Piggy' D'Amour
1960 - 2005.

23/8/2005

Chris Reifert and "Evil" Chuck Schuldiner.

21/8/2005

RIP
Krzysztof "Doc" Raczkowski
1970- 2005

21/8/2005

The ball is back - watch out for the tall man.

20/8/2005

Some cool Yamataka Eye drawings.

20/8/2005

www.rodland.net

20/8/2005

anal cunt are headlining the "sick shit" festival in albany, new york on
august 27th. it is at a place called valentines. this will probably be the
last show until i make a full recovery from my drug overdose last october. i
am walking with a cane now, so i'm still progressing. what happened last
october was i was doing heroin, crack, drinking, and took two months worth
of ambien sleeping pills at once. i didn't mention this before because i had
a court case of heroin charges against me. it got dropped, so i can mention
it now. also, on september 4th at the middle east club in cambridge
massachusetts, me and josh martin are doing a set of picnic of love songs
under the name "picnic of love". we are opening for ptl klub, adolf satan.
and the old men. not much else going on, i am going to cripple school monday
through friday. i'm in a hurry so i have to end now.
www.sethputnam.com

19/8/2005

Exerpt from review of Wolf Eyes and Anthony Braxton at Victoriaville 2005, taken from www.zoilus.com/documents/in_depth/2005/000446.shtml

Having wrung out half its audience to the point of post-traumatic stress, noise band Wolf Eyes said there was time for one more: Did we want Leper War or Black Vomit? The poll was inconclusive, so the trio’s hulking, bare-headed mouthpiece John Olson turned to the show’s guest star: “Anthony?” And at that, the near-sexagenarian, notoriously cerebral jazz composer Anthony Braxton glanced down at his saxophone, pursed his lips in a beatific smile and eagerly answered: “Black Vomit!” (Olson joked Braxton must have been inspired by their previous night in the hotel bar.)
Within seconds came the shuddering solar-plexus drum blows and the jerrybuilt-electronic chaos of the track from Wolf Eyes’ 2004 album Burned Mind. And the man who in 1971 released the first full-length solo saxophone album in jazz history was blowing madly along.
Though Victoriaville’s festival is supposed to be about tearing up the musical rulebook, in fact it’s swarmed by sub-factions — the jazz elitists, the rock yahoos, the Québécois-prog populists. This year was primed for a bit of a showdown.
Unprecedentedly, director Michel Levasseur had handed some programming duties over to Thurston Moore of New York postpunk band Sonic Youth: Moore filled the third of the festival’s five long days of music with the young brutalists of Wolf Eyes, Hair Police, his own mayhem-bound nine-piece Dream Aktion Unit and more.
Officially Braxton was at Victo (as devotees call the festival) to play a duet with guitar improviser Fred Frith, and with his own sextet, but his surprise coup was to sit in on Wolf Eyes’ whole set. People giggled about this in the disconcerted way they do when categories come unglued: Why was the black college professor hanging with the white noise dropouts?
Braxton’s always been a divisive figure. Since his 1968 debut album, the Chicago-born musician’s compositions titled with numbers and diagrams put off listeners and critics who thought he was too “academic,” too enamoured with world music and European composers like Stockhausen to be loyal to jazz’s swing and blues. Braxton rightly calls such criticism both “reverse racist” in its scorn for any contribution by whites, and straight-up “antebellum” racist in its conviction that black musicians should be gutbucket-instinctual rather than brainy and cosmological.
But at Victo, where he’s played many times in the past 22 years, and a few similar European festivals, he’s a heroic warrior against the conservative revivalism that’s dominated jazz since Ronald Reagan became U.S. president. It’s a sign of insider status in these enclaves to grok Braxton’s complex systems.
Such supporters can be as much of a burden as detractors: His music isn’t supposed to be some bonsai-tending hobbyist’s pastime. Braxton constructs his arcane mathematical-alchemical structures by collaging musical elements together in a game of musical 3-D chess. He intends the results to resonate with global sociopolitical dynamics — and even magically to alter or undermine them.
Braxton first saw Wolf Eyes at a festival last year in Sweden. He bought up everything at the merchandise table and even fantasized about moving to Stockholm (“as a cook, if I had to”) to study their “vibrational energies,” until he found out they were actually from Michigan. If it wasn’t my imagination, in Sunday’s dazzling show by Braxton’s sextet, amid a swirling mobile of suites that flirted and scrapped and merged with one another, some of the movements already seemed to carry the unbolted-buzzsaw timbral influence of Wolf Eyes.
If it’s startling that this jazz theoretician would fall for a thuggish group with roots in hardcore punk, consider what they have in common: Just as Braxton declares he’s no longer a “jazz” musician (“I have no desire to extend American hegemony”), Wolf Eyes likely would distance themselves from “rock.” Like Braxton, but at a much higher decibel level, Wolf Eyes interlay found sound, past influences and their own eccentric inventions, adding up to a sensibility dualistically divided between cyber futurism and Unabomber-cabin rustic grit. (Although the departure of member Aaron Dilloway seems to have subtracted a few degrees of seriousness.)
And Braxton’s sextet is half of a new 12-piece group that he wants to make his personal permanent ensemble. The idea seems aimed in part at removing himself from the music business to an autonomous realm — much the way the noise artists have built their own underground circuit.

16/8/2005

16/8/2005

Upcoming european tour in September
www.malignancy.com

Upcoming european tour in November
www.morticianrecords.com

14/8/2005

A grim Cat.

13/8/2005

Satanic bus karaoke...Glen Benton doing some Tom Jones in Korea.