Viva Negativa! A Tribute To The New Blockaders Vol I: UK

Available now from At War With False Noise.

Volume I in a series of UK / European / US and Japanese artists’ tributes to the pioneering UK Noise group The New Blockaders including exclusive tracks by: Nocturnal Emissions, Smell & Quim, Dieter Muh, Putrefier, srmeixner, Cheapmachines, Evil Moisture, Ashtray Navigations, Jazzfinger, Mutant Ape, Anomali, Halalchemists (incl. members of Skullflower, Culver, Snotnosed, Romance & Marzuraan)

This is the first in four unique albums of today’s most forward-thinking noise artists paying tribute to their masters. Expect further volumes across the globe in the coming months.

Mastered by Philip Julian. Artwork by Richard Rupenus (TNB)

500 copies, 12 page full-colour booklet.

Butchers Corner - New X

Spontaneous assemblage, DIY punk electronics, exploratory noise, hallucinogenic visions, sonic butchery

Thursday 29th April @ Butchers Corner, 302 New Cross Road, London

Nearest overground — New Cross Gate — 7/8pm ish start

HYLICS
CHEAPMACHINES
J.M. BOWERS
DJ TENDRAW
THE ABOMINABLE MR. TINKLER
JOHN WALL
OPAEAN & CARACOIS VOADORES
TORTULA
JOEL CAHEN
CHARLES CELESTE-HUTCHINS
ZLATKO BARACSKAI
AMPERSAND

Facebook events page here.

Paranormal Noise

NOISE=NOISE and A10Lab host an evening of live paranormal noise performance.
Sunday 25th April, 4pm – 11pm
Area 10 Project Space, Eagle Wharf, Peckham Hill Street, London SE15 5JT

Area10 Project Space is the White building behind Peckham library
Buses 12, 36, 37, 63, 78, 436, 345, 177, 312, 343 Train: Peckham Rye Station

William Blake claimed to have seen the Prophet Ezekiel under a bush and visions of “a tree filled with angels, bright angelic wings bespangling every bough like stars” in Peckham Rye.

Facebook events page here.

The Seen

The Seen: Edited extract from a concert recording at Cafe Oto, 26/06/2009

The Seen: Paul Abbott (electronics), John Butcher (saxophones), Matt Davis (trumpet), Jane Dickson (piano & electronics), Benedict Drew (electronics), Phil Durrant (electronics), Phil Julian (electronics), Dominic Lash (bass), Jonathan McHugh (electronics), Ben Owen (electronics), Mark Wastell (tam-tam)

http://anothertimbre.com/page61.html

Recorded by Simon Reynell, available via Another Timbre.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

 

Herbe Zeiten

Some reviews of the Tomas Korber / Philip Julian collaborative recording “Herbe Zeiten” (con-v) have appeared recently at Bagatellen written by by Al Jones and by Richard Pinnell at The Watchful Ear.

“Here’s a duo we should all be interested to hear — two musicians I’d suppose have to be pretty amiable, given the number and variety of collaborations with others, in recent years. Phil Julian’s among the more active musicians in Britain 2.0’s steadily growing pool of thoughtful players — and he’s been active for far longer than I’m leading to here, notably under the moniker, “cheapmachines” — while Korber seems to cross borders at the rate of daylight with all the recording, studying and performing he involves himself with. Both have sizable catalogs of solo ventures, which are about as consistently engaging as one could hope, considering the nature of experimental/improvised music.

Herbe Zeiten (”harsh times”) is the most recent cd-r release to come from the excellent con-v weblabel, and its third or fourth to take advantage of the 3″ format. A single 18-minute piece opens with staticky oscillations, presumably from Julian, lo-fi yet pronounced, where it seems the hidden details are struggling to break free of a curiously audible carrier frequency. There’s immediate connection, with Korber demonstrating that he is in fact using a guitar, though his choice of sounds move quickly from string-generated tones to percussives and manipulation of his axe’s extremities for the remainder of the piece. In the first of a couple of fades, around five minutes in, the duo dials it down and back up again, the gap between laced with high-pitched, soft curlicues. This segue marks the beginning of a transition, where Korber’s sounds become more pronounced, and Julian’s electronic undertones take on a more subtle, drone-like bent. In the continuing development, the duo doesn’t use much beyond a handful of chosen patches/motifs, all quite complimentary to another, and sustaining the general mood.

I’m reminded of some of Oren Ambarchi’s earlier meditative work, and the piece here seems to express how such music has really evolved. Making use of near-silence (or hushed lulls) and a carefully considered stereo field, the two have come up with something here that can hardly be
called “harsh”. Korber and Julian have a certain mastery of nuance, and it’s interesting to hear their approaches blend. No overkill, and nicely understated, through to a slow, dramatic fade.”

~ Alan Jones, Bagatellen, August 13, 2009

Also, some nice words over at Missing Sequences.

A number of reviews of the Mathias Forge (Trombone), Phil Julian (Electronics) & David Papapostolou (Cello) collaborative recording “Meshes” (another timbre) have appeared recently:

Review by Richard Pinnell here

Review by Brian Olewnick here

Review by Michael Rosenstein for Paris Transatlantic here

Review by Ken Waxman for Jazz Word here

*

“This trio of trombone, electronics and cello perform two tracks; the first, “Long Nylon Oak,” was recorded in the church of St. James the Great, Friern Barnet, without an audience and the second, “Floodlit Iron Tracery,” in concert two days earlier in a different church, St. Mark’s, Clerkenwell. Given the gap and the different contexts, there is a remarkable sense of continuity between the pieces, particularly commendable as the three had not played together before.

Both pieces are restrained and evolve slowly. Most notably, Mathias Forge confines his contributions on trombone to subtle breathy blowing rather than full blown notes, giving them a texture that meshes (a fitting title) well with the electronics and cello… Simon Reynell’s recording perfectly captures every nuance of the music, a vital ingredient of their success.”

John Eyles, “All About Jazz”, October 2009

“…Forge’s burping trombone, Papapostolou’s percussive cello and Julian’s electronics stutter onwards in a procession of knocks and rattles that ricochet against the resonant acoustic.  While, in another context, those same gestures might imply velocity and speed, these acoustic realities divert the music towards a more meandering, leisurely paced structure that is intriguingly at odds with its material.”

Philip Clark, “The Wire”, November 2009