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19301Wreck the Grief

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  • ninplant@xs4all.nl
    Mar 2, 2006
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      wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam

      Ethno-Illogical Psycho-Radiographies: 323: The Grief of Norscq is Ours

      PTP in the ether: 88.3FM
      Where purity & puerility are synonymous
      streaming via internet:
      <http://freeteam.nl/patapoe/>

      30 Januari 2006 / 17.00-19.00

      "The problem is not really the very wide quantity of available sounds
      and noises to create music but more to communicate it to its possible
      audience because the ears and eyes of people are so saturated and
      polluted with economic interest harassment."
      o Jean-Louis Norscq

      Publicité - Concert a l'Escalier > The Grief [1]
      Berjast Fra Dajnn Ast > The Grief [1]
      Lemon Bop [with R. Roland Kirk refs?] > > The Grief [2]
      Kimindi #2 > The Grief [1]
      Roots / Wechma > Norscq [3]
      Potholes > [1] Kilo of Black Bondage [4]
      Trois Bals Masqués > The Grief [1]
      Hedge-Hopping Operation > The Grief [2]
      J'Etais fait pour t'Aimer > The Grief [2]
      Ewitt > The Grief [2]
      You Should > The Grief [2]
      Organetta Casiotonale > The Grief [1]
      Hi-Limba > The Grief [5]
      Le Qautr d'Heure > The Grief vs Colder [2]
      Belsato Nowozumay > The Grief [1]
      Acid Strip > The Grief [1]
      Dear Superfan > Superstoned [6]
      Automatic Piece > The Grief [2]
      A Morgun > The Grief [5]
      Zon > Norscq [7]
      Il Farele Siposo Imcomu, Partial Overview > The Grief [2]
      Rinçage > Norscq vs Ammo [8]
      Gaspard Mange une Aspirine > The Grief [2]
      Rinçage > Norscq vs DJ Grasshoppa [8]
      Noh > Norscq [7]
      Rinçage > Norscq vs Felix Kubin [8]
      Potholes > [1] Kilo of Black Bondage [4]
      Rinçage > Norscq vs Tempsion [8]

      [1] "Nonobstant le Cagoulisme" on Halte Aux <www.norscq.org>. Very
      rare unusual outtakes. Obscurity is its own reward. Limited edition,
      50 copies. Can be persuaded to produce more I am sure.
      [2] "The Grief - Greatest Hits" on Optical Sound <www.optical-sound.com>.
      [3] "Wechma: The Atlas Project" on Prikosnovenie
      <www.multimania.com/prikos>. World music for those who do not feel
      themselves to be part of this world any more.
      [4] "Fear the Windows" on Ronda <www.ronda-label.com> / Wallace
      <www.wallacerecords.com>. Deep dark collaboration of sombre dub and
      creepy ambiences [the world is not safe for Teletubby souls] and
      Black Sifichi's unique vocals and poetic texts that remind one of a
      combo of John Giorno, Paul Bowles and Ken Nordine. The sound hovers
      between the old gray hums in Laswell dub ambiances, the howling of an
      old wolf, the Wordsound explorations of a decaying Brooklyn
      waterfront populated with the dead and dumped bodies of victims of
      organized crime and the Wasteland of TS Eliot. Recommended only for
      those not prone to hair-trigger fits of depression. Produced by
      Norscq.
      [5] "Retrospection" special-edition retrospective. Gives some insight
      into the deep dark roots of this music of dingy hopefulness.
      [6] "Superman/Superfan" on Jarring Effects
      <www.jarringeffects.free.fr>. If Sonny & Cher got caught in a House
      of Mirrors at the Eurovision competition. Out of the dental cavity of
      Manchester, the anal cavity of the Velvet Underground, the ruminal
      cavity of Sig Sigue Sputnik comes this shambles of what genius used
      to look like in the time of Tiny Tim and T. Rex. See also Norscq &
      Black Sifichi.
      [7] "Lavatronic" on Lytch <www.multimania.com/prikos>. Furniture
      falls apart and all you can do is admire its collapse. You pick your
      teeth with the smoldering splinters and pick your brain with this.
      [8] "Lavatron.X" on Shambala <www.multimania.com/shambala>. A wide
      array of producer-musicians rewiring several cuts from Norscq's
      "Lavatronix" CD. People like John Duncan, Foetus, DJ Grasshoppa,
      Jeffrey Lembeye, Jack Dangers, and Black Sifichi offering a broad
      spectrum of reworkings from sampled echoes of the electronic work
      that was influenced by a hard-edged industrial ambient sound that
      emerged in the late 80s.

      :::: Interview with Jean Louis / Norscq February 2006 ::::

      WTM: How did you get started in music. what was yr first band? What
      were yr inspirations to pursue music?

      N: as far as I remember I have always been sensitive to songs mainly
      from the radio and addicted to sound environment. I was born and grew
      up close to the sea and I love the sound and visual contemplative
      power of the sea. My sister is 13 years older and with her and her
      husband, I discovered jazz music, Léo Ferré and 60's pop music. then
      as a teenager I got into more music through school friends spreading
      all over main stream rock and pop music and also ECM artists. my
      favorites were Led Zeppelin, Pink Floyd, The Beatles, Queen, Steve
      Reich, Codona and I still like them a lot, at least some part of them!

      Around 1978: My very first band was just a teenage garage band not
      even named and really bad - I started to play guitar and bass and we
      were trying to be The Ramones!!

      Then, in 1980, I started a cold-wave band named Döppler-Fizeau
      directly influenced by French band Marquis de Sade and Joy Division.
      a few concerts and that's all. Between 1982 and 1983 I started to
      fool around synths, drum machines and tape recordings which drove me
      into The Grief. I guess for me music was a way to escape, dream, and
      refuse a school education oriented toward making you into a normal
      average person which is still very true even if I have learnt a lot
      with music and have met a lot of people. So my only inspiration to
      pursue music has always been to be moved.

      WTM: where did you grow up? what was the first band or music you saw live?

      N: I grew up in Saint-Malo (in Brittany, western France) where I
      lived until I was 26. I can't remember the very first concert I saw
      but I remember the first two big concerts I saw, one was Telephone,
      ugly French teenage rock band and Status Quo...no comment!!

      WTM: where and how did the Grief emerge? Were they ever popular? What
      were the inspiration/sources? In some cases, I hear meat beat
      manifesto, young gods, ministry, some of the other hard industrial
      dance metal of the mid-80s.

      N: The Grief emerged from St. Malo in 1984 with some wild
      iconoclastic concerts and some cassette releases on our own label Les
      Nourritures Terrestres. Then we released albums and CDs on the
      Danceteria label until 1992. We were quite successful with one 12"
      record called "Kyn" in 1987 - a very electro-body music single, 4000
      copies sold - but for the other records the average was between 1500
      to 2000 copies. So I cannot say we were very popular but just
      well-known and our concerts which could be very unpredictable and
      quite wild sometimes did not help us much either!

      Regarding our inspirations, of course, we were listening to other
      bands and it is true for Meat Beat Manifesto, Foetus or Einsturzende
      Neubauten but not for Young Gods or Ministry. But very soon my
      inspiration began going very wide - from traditional Asian music to
      funk and disco and contemporary composers like Steve Reich and
      Giacinto Scelsi mainly.

      WTM: You produced the grief? how did this lead to your producing /
      production / engineering work? What is the most satisfying aspect of
      this? You do have this 'magical' ability to make things sound richer
      or even more like themselves than original versions...

      N: I went into sound engineering and production directly from The
      Grief experience as I owned a 24-track recording studio at the time,
      until 1995. Now I just have a home studio 'deluxe' I should say where
      I can do professional mixing and mastering. What I like in this job
      is the amazing power of creativity, enhancement, and development you
      can have even from just a 'technical' vantage point, if the artist(s)
      want and accept it of course... To search and destroy conventions and
      preconceived ideas...!

      I very much like the psychological side of it too. It is always a
      very rich experience to spend a long time with different people
      involved in a big and challenging concentrated creative process. It
      can be really tiring but it pushes me and it helps me a lot in my own
      musical creativity by discovering different ways of doing and
      conceiving music, different musics, dreams, and sensitivities.

      I don't know if I have this 'magical' ability you are talking about
      but I really like doing this and I guess this 'magical' thing is just
      passion, imagination, and huge amounts of concentration.

      WTM: what do you think you as musician/producer can do with today's
      sound? can it still mean anything for others? is there just too much
      sound and noise out there for anyone to be able to sort it out? what
      do you use for guidance?

      N: I don't know what I can do with today's sounds and I hope I never
      find out because for me it is very much about questioning. I think it
      does not have to necessarily mean anything for others, as sound is
      not an end in itself, only music is and sound is only a part of it.
      Making music means combining sounds and/or melodies together in a way
      that means something to you so it is endless and cannot be restricted
      to a specific time and the existing technology of our time. So, now
      the problem is not really the very wide quantity of available sounds
      and noises to create music but more to communicate it to its possible
      audience because the ears and eyes of people are so saturated and
      polluted with economic interest harassment.

      I do not have any method for guidance, when a sound tickles my ear I
      let my mind fool around with it, sometimes it ends up as a piece of
      music and sometimes not. The other possibility is that I want to do a
      specific type of piece so I try to satisfy its needs and confines but
      generally, in that case, I often end up drifting far away from the
      original idea.

      WTM: who/what do you listen to in your private time? I hear from
      other musicians that they often listen to nothing, hum, white noise,
      classical or music totally different from what they make...

      N: I'm listening to a lot of music, at least very often. Sometimes it
      is just a few records for a long period of time and at a certain
      moment I leave them and then come back from time to time. I am very
      faithful, so this can last for years and years. I regularly listened
      to Robert Fripp "Let the Power Fall" and This Heat albums over the
      past 20 years for example. In a different style, Korean Sinawi or
      Giacinto Scelsi are incredibly impressive to me - deep, moving
      abstraction and complex simplicity. On an other side, I also enjoy
      discovering new actual musics or curiosities from our planet; I love
      mariachi music a lot ! No rules really.

      WTM: with lavatronic and atlas project you seemed to create world
      music for a world that doesn't exist. all of your material seems
      purposefully obscure - the titles alone. is that a dada trick?

      N: It is maybe because I think that existing world(s), even if they
      can be very beautiful, are so rotten and dysfunctional - it is
      depressing! The Grief was resisting and fighting, what I have done
      more recently is still resisting but going somewhere else. It is true
      that I like playing, hiding and using tricks a lot, but I don't know
      if we can call it dada.

      I do enjoy nonsense, absurd and useless things and purposes, maybe it
      is a kind of emotional surrealism or dreams within reality or maybe
      something else or nothing. I have to admit I don't like concept. For
      me, to discover afterward what my music can reflect is essential,
      from my own point of view and even more from external feedback.

      WTM: do you use samples and other sources? where do you find them?

      N: I use almost everything, samples from everywhere, my own ambient
      recordings, synthetic or computerized sources and also guitar, bass
      or some traditional instruments I brought home from different trips.
      For me, doing music is a like piecing together a puzzle, one sound
      calls the other and brings it into the other so everything can make
      sense or nonsense.

      WTM: what's next? any more great superstoned stuff?

      N: A lot of ideas are pushing inside me for now. Super Stoned, yes of
      course, and some still blurry other collaborative projects. But first
      I need to go into different and new musical areas and this requires
      research and time. I'm happy because I can feel that this is about to
      start very soon... will see what comes out. On a more concrete level,
      I just did the score for an international multimedia project called
      '5 Streams' which premiered in New York in January and we want to
      release it on CD within the next few months. Musically it is
      somewhere between 'Wechma' and 'Lavatronic'.
      more info: <www.5streams.org>.

      websites :
      <http://www.norscq.org>http://www.norscq.org
      <http://the.grief.free.fr>http://the.grief.free.fr
      <http://www.super-stoned.com>http://www.super-stoned.com

      Notes on other Patapoe audionauts & nuts:
      o Jonges v/d Vlakte [Boys from the Plains]: "De cottonpickin' Jongens
      van de cottonpickin' Vlakte" play a piquant, illuminating, and
      playfully irritating mix of faulty music, of near-misses, of obscure
      failures, of world music that is not from this world 19.00-20.30
      [Dutch time, subtract 1 hr for UK, subtract 6 hrs for US East Coast]
      Mondays @ PTP

      o Dr. Doo Wop is one of the most eccentric and stimulating radio
      shows anywhere. Sartre, DeSade, Doo Wop and music from the gonads.
      Now on Radio Patapoe on Sunday 17.00-18.00 Amsterdam time

      o Radio Antarctica is in temporary exile in the UK. Expect periodic
      patriotic broadcasts to rouse the troops on the mainland.

      o POLYPHAKE PLAPPERLAPAPP: "polyphone audioerosion featuring
      occasional beatweirdniks in an plaperlappap assemblage hosted by
      F.Fiasko 22:30-?? Wednesdays

      o Radio Worm: Rotterdam-based radio collective presents inventive
      programming to baffle all preconceptions. Midnight Sundays and in
      autopilot rotation.

      o HET PROGRAMMA: industrial lounge for collapsing people. Tuesdays 21:00
      ~~~~
      * new home of Amsterdam's Radio Vrije Keyser: 89.6 FM
      * Radio Tonka, The Hague's 10-year-old free radio <www.radiotonka.nl/>
      * Radio Wanklank 90.9 FM, free radio in Wageningen <www.wanklank.nl>
      * Wreck This Mess-Paris @ Radio Libertaire, Paris 89.4
      <http://dune2.info:5000/radiolib.m3u> on Tuesdays 12:30-14:30
      * Black Sifichi / Audiometric is broadcast on: Aligre FM / 93.1 Paris
      (sat 22.30 - sun 7:00) http://www.aligrefm.org
      Eko Des Garrigues 88.5 FM Montpellier ( 19h - 22h)
      http://www.ekodesgarrigues.com
      RTF 95.4 FM Limoges (wed 21h-23h) http://www.rtflimoges.com)

      Send all sound material for airplay and review to:
      Wreck This MeSS
      Radio 100 / Radio Patapoe
      bart plantenga
      Zeilstraat 23 / II
      1075 SB Amsterdam
      the Netherlands

      WTM PLAYLISTS
      o 2500± READERS-EYEBALL "LISTENERS" per WEEK*
      o Old playlists archived at <http://www.wfmu.org/~bart/
      o Selected Playlists at http://www.romanapoli.com/black/wreckthismess.html
      o Someday: <http://wreckthismess.com/>
      o Check out NEW excerpts from my erotic-dérive novel: Paris Sex Tete
      on Parisiana <http://www.parisiana.com/>

      __________________

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