Loading ...
Sorry, an error occurred while loading the content.

Wreck: BLACK Dog vs BLACK Sifichi [ploylost]

Expand Messages
  • ninplant@xs4all.nl
    wReck thiS meSS ‰ Radio Patapoe 97.2 ‰ Amsterdam Adventures in UNsound: no. 176 Black vs Black Maandag, 25 Maart 2002 (17.05 to 19.00) ؉؉
    Message 1 of 1 , Apr 2, 2002
      wReck thiS meSS ‰ Radio Patapoe 97.2 ‰ Amsterdam

      Adventures in UNsound: no. 176 > Black vs Black

      Maandag, 25 Maart 2002 (17.05 to 19.00)

      ؉؉ ؉؉ ؉؉ ؉؉ ؉؉

      Black Soul to Wreck Soul ID [3]
      What Do They Want > Black Sifichi vs Black Dog [1]
      Dogbite > Black Sifichi vs Black Dog [1]
      Down Down Down > Black Sifichi [2]
      Quotideinnement > Black Sifichi [2]
      Secret Biscuits > Black Sifichi vs Black Dog [1]
      Blue > Ken Nordine [4]
      If I Were King > Black Sifichi vs Black Dog [1]
      LKJ Black Wreck ID [3]
      B4 the Sky was Built > Black Sifichi vs Black Dog [1]
      Black > Ken Nordine [4]
      Dear Ron > Black Sifichi vs Black Dog [1]
      Invisible Things > Black Sifichi vs Black Dog [1]
      Gold > Ken Nordine [4]
      Let's Talk Music > > Black Sifichi vs Black Dog [1]
      Crimson > Ken Nordine [4]
      Merry Old Philosopher 1,2,3 > Eddie Lawrence [5]
      Barbie vs Mantovani > Black Sifichi vs b/art [6]
      Mental Health Hotline > > Black Sifichi vs Black Dog [1]
      My Baby > Ken Nordine [7]
      Image Poem > Black Sifichi vs Black Dog [1]
      New York Dorx > Black Sifichi vs Black Dog [1]
      Rock & Roll HUH > Eddie Lawrence [5]
      Someone at the Office > Black Sifichi vs Black Dog [1]
      Heartbreak Hotel > John Cale [8]
      Original Sin > Ken Nordine [7]
      Science Tells Us > Black Sifichi vs Black Dog [1]
      What Time Is It > Ken Nordine [7]
      Let Go Tapes [Bartman] > Jim Letgo vs Black Sifichi [9]
      Wishing Well > Black Sifichi vs Black Dog [1]
      Wet Dreams of the Pope [exc] > Black Sifichi vs Epsilonia [10]
      Rock & Roll Redux > Eddie Lawrence [5]

      ؉؉ ؉؉ ؉؉ ؉؉ ؉؉

      [1] "Unsavoury Products" on Hydrogen Dukebox <http://www.unsavouryproducts.com>
      Black Sifichi on meeting The Black Dog: "I met The Black Dog by
      chance, while on vacation in Tunisia in 1997 at the International
      Festival of Tabarka - an annual festival of avant-garde music,
      theatre, and dance. I noticed these guys dancing to a complex,
      hypnotic drum pattern. They were asking the sole drummer bizarre
      questions and seemed in need of a translator... coming from Paris
      (and speaking French) I stood up, introduced myself and offered my
      services. Their track with Ofra Haza [WTM: I think she died in 2001]
      was playing on the radio in Paris at the time and I'd heard they were
      working with Burroughs. Black meets Black. I had been making some
      sketches and notes during that evening. Ideas for a poem or two,
      observations about tourists in a foreign land. I tried to capture the
      lazy perfume inside the music, tried to describe the insane as
      normal. They asked to look at my sketch book, read my writing... I
      told them it wasn't finished but passed on the carnet anyway. They
      liked what I had written. I said thanks. We shared mint tea and
      addresses. I put the notebook away. When I returned to Paris I
      entered their address into my computer and slipped back into the day
      to day routine. Back to my radio shows at Nova and Aligre. Back to
      Jean Francois-Bizot and "the improbable'. Back to Roma via Napoli.
      Back to the Slam crew. Back to the Batofar. Back to my Basque sex
      buddy... I recorded some of my written texts and mailed them to The
      Black Dog a year or so later. The recording was a series of readings
      and vocal noises. Five days later a package dropped through my mail
      box... plop! I open it and there is a cassette inside. No label. I
      put it in my walkman and wander outside into Parisian drizzle. My
      voice with music. I was bitten by The Black Dog. We exchange e-mails,
      random ideas, crazy thoughts. Time So does Bill. A month or so later
      I send The Black Dog an old pair of underpants which I had found in
      the street in Paris' 18th Arrondisement. They were cardboard solid.
      Impregnated with a mystery blue liquid and the grime of the city.
      Paris and the whores that hang around 'Nation' on the weekends. Sad
      young girls and boys trying to stay alive in a city full of rich
      perversity and poor wealth. No note, just pants. Some time later I
      receive a postcard from City Lights Bookstore with just two words:
      "Unsavoury Products". It could only be The Black Dogma. And now we
      have the record. We have made this to celebrate our love for William
      Burroughs; his Life and his Art. For many other reasons we plan to
      stay alive. We offer no apologies and you should know better."

      WTM: You seem to have found a hearty and firm handshake between
      spoken word and music. On this disc even more so than on your first
      release, you seem to have created a happy marriage between music and
      words. Neither suffer, both thrive. How did this evolve?

      BS: "This evolved from several different elements - after deciding to
      take a break from working with negative stencil last year, I met Pole
      & Burnt Friedmann at the Batofar. I interviewed them and gave Burnt a
      copy of TICK. Burnt said I had a great voice during our interview....
      A bit later he sent me an email - seems he loved "Dear Ron" (the only
      piece i had done completely alone on the album) and had played it on
      Nat'l German radio in a mix (95% reggae and dub) he was invited to
      put together. Then he invited me to write and read a track for his
      upcoming album "Plays Love Songs". He sent me an instrumental track
      which was very ambient and we spoke about an outline for a story... I
      guess I enjoy film more than poetry readings - I wanted to put a
      track to tape which didn't sound as though it was recorded in the
      studio - I wanted something which sounded more personal - like a man
      in a hotel room with a Dictaphone or a portable tape recorder. This
      was successful and captured the atmosphere I was shooting for. I
      wanted something which wasn't "place-able" 'non-place' - Burnt loved
      the track and stretched it out and edited the reading a bit (i would
      like to add - he did this very well - he has a superb ear and a
      tender heart and intelligent spirit).

      I had also met Bixente Iriart (BXT) who had used Charles Bukowski on
      his Soupçons album - "A Need For Glue". Bixente was a fan of my radio
      shows and also was taken by my voice and texts. We began to work
      together - but mostly, BXT wasn't afraid of Long Tracks - Two of my
      favourite solo performances were "Wet Dreams of The Pope" and "Free
      Radical Oxygen" (which clocked in at 45 mins and 25 mins
      respectively) these were completely lost with Negative Stencil. We
      were beginning to be like a normal band. A strange cabaret band. I
      wanted to get back to the story. To the mouth. To breathing. To
      dragging the listener in using silence and focused attention. With
      BXT I wrote "Periferic" & "Debbie" and we performed pieces by JG
      Ballard "Crash" and Bukowski - "The Most Beautiful Girl in Town". His
      music and textures worked perfectly. His love of dub gave him the
      sensibility to put the right rhythm to the words....

      I had sent a K7 of TICK to the Black Dog in England after hearing
      they were working on an album with William Burroughs. (I thought I
      might be able to squeeze my way in and do a track - I have been a fan
      of the Black Dog for years, since "Spanners" came out on Warp. This
      was a couple of months before WSB died. ) Later BD contacted me.
      Burroughs had died and they had decided to put the WSB album on hold.
      An homage was to be made - they thought I was the man for the job.
      They were going to put out an EP on Robin Rimbaud's label "Sulphur".
      I sent several different vox recordings to T.B.D. and they wrote
      music for it and mixed it... I used a similar approach to the one I
      used for Friedmann - I wanted to keep the microphone out of the
      studio. I wanted a reading that felt 'natural and real'... Robin
      refused the project saying it wasn't 'commercial' enough. The Black
      Dog were actually shocked by this. The loved the work - thought it to
      be one of their best realisations in a while.So they went back to the
      studio - asked me for more vox tracks and decided to make it a full
      album. Hydrogen Dukebox were happy to accept it immediately."

      [2] "A Sonic Monograph" Unreleased [raw] material that later became a
      portion of "Tick" [Noise Museum]

      WTM: The texts seem to be a collage of various sources including some
      of your own? Who is what and why? I understand that this is a tribute
      to Burroughs. Why at this time? There have been so many homages and
      Burroughs appropriations. Best in my mind is Adrian Sherwood vs Mark
      Stewart on Pay it All Back, but also Ministery did a great sonic
      Burroughs piece. Worst is Kurt Cobain but there are so many... Why do
      you think that is?

      BS: "Because Burroughs touches everyone with his honesty,
      intelligence and political position. So few people do this these
      days. Coil just complained to me about 'young people wanting only to
      have "FUN" - shedding responsibility - wanting safety' ... I think
      Bill was a shiny razor cutting through all the world's bullshit. A
      risk taker. His haunting voice and drawl gave this an extra edge. He
      is like a beacon of what an artist can be. Like Duchamp. An artist
      24 hours a day without compromise. Almost Biblical. His own life
      story , the drugs, his demanding writing style (I think that WBS
      wanted to get away from the typewriter - naked lunch doesn't feel
      like a "book" - it feels like another kind of writing....). and there
      are the artists that WSB worked which also add a seductive aura to
      the man - what do you call the string which carries spirit in it's
      entire length? Everyone wants to get a grip on that string and be
      pulled in it's direction. Bill is this. (I think that Genesis P.
      Orridge is also inspired by Bill - The Disposable Heroes of
      Hiphoprisy (M. Franti) have worked with WSB and Bill Laswell too. -
      Hal Wilner) The texts on UProds are mostly my own. There isn't a text
      from Burroughs. Mental Hotline is an anonymous e-mail I received
      about two years ago. I used to perform it live with Negative Stencil
      . There is the other track "Lets Talk Music" this is from a book
      about music history / theory. The tracks Dog Bite, white feathers,
      pigeon chest, invisible things , what do they want?, if i were king,
      b4 the sky was built , white feathers, and Interview were written
      specifically for the album."

      [3] Some old station and WTM IDs that BS did for meŠ The only taped
      piece I regret not being able to find for this show was "Bam! I Had
      an Orgasm" which is one of SF's first mixes done on a boombox! No
      less. It is a perfect mix of early 90s dance music [housey] with the
      voice of noir filmmaker, Mark Boswell reminiscing about when he had
      his first orgasm in a swimming poolŠ

      WTM: You seem to finally be thriving with Dj work and spoken
      performance work. How do the two conflict and coincide?

      BS: "Being a Dj is listening to music and sound. The abstraction
      within and the beats which can surround it. Dancing is essential to
      the spirit. Music can spread joy, be healing and uplifting. "Bass is
      Maternal" as Smith & Mighty have said. Being a DJ is trying to create
      a piece of string which doesn't break even though it is cracking with
      the weight of my different sources - from Hip hop to electronica -
      from Dub to House and Ragga to Breakbeat. I like making people
      dance, my texts tend to be rather heavy, sometimes disturbing, being
      a allows me to show another part of my personality. Some people are
      confused by this. They want things to be only one thing, whether in
      spirit or art. There isn't a conflict with the spoken word. I think
      being a only has been able to enhance my ear, keep me open and
      listening to other musicians work. I am fortunate to have been able
      to carve a little place in the world of music. Most people never get
      the chance to listen to music when and how they want. I can. This is
      pleasure. Reviewing records helps me get away from my own ideas and
      be objective as well. It is a complete experience. ....I should add
      that Newspapers are also major source of inspiration for my writing.
      There is nothing stranger and truer written everyday. As a DJ I'm too
      open minded for most clubs which are looking to stick one genre after
      your name - ie: Black Sifichi (Dub) - or BS (Tek-House) - BS Electro
      or BS Hardcore. I live through all these sounds and each one touches
      me in a different way. There is a psycho trope in all of them. I
      refuse to change. Stubborn like Burroughs."

      [4] "Colors" Originally on Philips rereleased on Asphodel
      <www.asphodel.com>. KN is the measure of all electronic voices. There
      are hundreds of imitators in poetry in radio in advertising. When you
      want soothing, insinuating, nocturnal, reassuring, he is the
      "inventor" of the resonant baritone vibrato FM format late night jazz
      DJ voice. Even though he has sold everything with his voice he still
      maintains a relative hip image as the inventor of a kind of spoken
      word called word jazz [also the name of one of his great albums].
      Somewhere between a swamp frog, Lord Buckley's logorrhea and the jazz
      word gymnastics of Patchen / Rexroth / Kerouac is the cheeky [and
      sometimes satirical] voice of KN. His particular poetry - Word Jazz -
      is more lighthearted and less-fraught with angst than the
      aforementioned. He grooves and sails and wallows in the beauty of the
      spoken word. Not nonsense and not high sense, he soon filled a void
      between stand-up comedy and post-existential jazz jive. His first
      discs were released in the 1950s on into the mid-60s. Word Jazz was
      his creative outlet that took him far from the ridiculously serious
      grind of selling things. from his day job. He released a string of
      wordy discs on various labels from the late 1950s through to the
      mid-60s. Among KN earliest fans was the Grateful Dead. In 1991, Dead
      members hooked KN up with Jerry Garcia, mandolin player, David
      Grisman and harmonica player Howard Levy of Bela Fleck's Flecktones.
      Along with others and a cameo by another KN devotee, Tom Waits,
      making a the end product was an improv recording called "Devout
      Catalyst," an interesting collaboration. Ken was beside himself with
      enthusiasm, saying that the experience was only rivaled by Fred
      Astaire dancing to Word Jazz on a 1960s TV Special. It was nominated
      for a Grammy Award as "Best Spoken Word Recording". Word Jazz
      encouraged Nordine to try performing live. A highly successful
      appearance in Ken's hometown of Chicago was followed by a triumphant
      pair of shows at Bimbo's nightclub in San Francisco, as part of the
      1992 S.F. Jazz Festival. An interview with KN:

      [5] I don't know much about EL but I DO know it is some of the
      funniest spoken word I've ever heard on tape or record. His persona
      is the gravelly-voiced grump, the complainer and on "Rock & Roll -
      HUH" he is at his peak: "Stock Market crashes, huh! When we had a
      crash we had a crash. Pow! Right down to the bottom. All this
      fluctuatin' droppin' a point or two, drive yuh outa your skull! Š
      Rock & Roll HUH! [another voice: Will you shut up!] Š You call this
      beer!? Carbonated Defrost! Gimme another one and compress the head
      will yuh. Split-level homes, huh! Nothin's on the level any more.
      Feather beds. We used to sleep in the kitchen sink or the fire
      escape. Harden yourself. School o' hard knocks. Automatic
      dishwashers! We used to have automatic wives in de old daysŠ"

      [6] This is a piece BS did for an Elliot Sharp project called "State
      of the Union", "State of the Union 2.001" on EMF (Electronic Music
      Foundation) <http://www.emf.org> <EMF@...> This is a 3-CD set of
      post-consumer sound and text-based electric and electronic music that
      threads an entire critique of our modern life through its laser
      entrails. All profits go to the National Coalition Against
      Censorship, which has a job the equivalent of the repairman fixing a
      slight leak in the hull of the Titanic. Americans have decided that
      the world is the enemy and have taken to building trade barriers [as
      they speak of trade agreements - code for exploitations - and
      tariffs, and barbed wire borders and this incredible post-SDI rocket
      shield which will protect Americans from "lunatic" Muslims but not
      from themselves. They have bought into the entire idea of a virtual
      Maginot Line and since they know almost nothing about anyone's
      history they don't know how history made the French Maginot Line
      ridiculous and pejorative. This awesome display of inclusion by
      composer/multi-instrument musician & polemicist, Elliott Sharp, has
      collected one-minute music and sound works by 171 international
      avant-garde, both famous & less so, presents a colorful palette of
      noise, sound, blips, attacks on post-post-modernism, robotic poems,
      synthetic gurgles, rants, odes, meditations, post-punk quickies from
      a vast array of strategies, spirits, aesthetics, clans, tribes, alien
      nations, musical [un]styles, and unnamed genders. He describes the
      collection as "concrete, abstract, enraged, objective, caustic,
      soulful, sardonic, provocative -- all unfiltered, all clear." Volume
      One came out on vinyl sometime in the early 80s and was rereleased on
      CD with additional trax I seem to remember in the early 1990s. The
      cuts come so fast and furious and are so varied that you are cast
      instantly into the middle of NY somehow. With the frenetic pace that
      intoxicates as it exhausts, stimulates as it batters away at your
      ability to absorb so many shifts in style...

      This excerpt was BS's reading of part of a short story of mine called
      "Barbie & her Perilous Anatomy". [He & Roma Napoli have done many
      many versions of this story, BTW]. I mixed it live on air with the
      Zoom effects machine on hi #7 reverb on Sounds of Mantovani [Que Sera
      Sera, High Noon, A Man & A Woman, The High & Mighty, Gigi]. This
      meant putting/crashing/sliding/ripping the needle down at random
      spots and catching just enough reverb to carry me and the needle to
      the next random groove to touch down in.

      WTM: Your texts seem to work on several levels simultaneously: they
      are visceral almost bludgeoning and very dynamic sounds and the
      accumulation of meaning doesn't happen until a few listens later. The
      texts are ironically in some ways more powerful and yet less personal.

      BS: "Thank you. I will leave this up to you, though I am very happy
      that the record needs several listenings. We wanted to make something
      which wasn't "instant" and too simple. Put it on and you like it
      right away! We are well aware of how easy it can be to give the
      people the easy, the hook, what they think they want to hear. A
      generic rap. more Disposable Music. Unsavoury Products has avoided
      this completely. We think it is a work of art which needs time to
      interpret. I got away from the "I".................."

      [7] "Word Jazz" KN slips into his most Lord Buckley mode here, going
      absolutely existential hilarious, man.

      [8] John Cale's sabotaged homage gone drunken parody of this classic.
      And yet, somehow it remains a bewitching and touching cover version,
      like someone on the verge of dying or reinventing himself. And here
      with BS singing, moaning, howling along, it goes through the Hotel's

      [9] "The Letgo Tapes: B/artman Segment" Unreleased material of BS vs
      Jim Letgo of London. Funny tape manuipulations, speculations,
      irritations, permutations, fermentationsŠ C. 1992[ish].

      WTM: what are your favourite records to listen to at home while
      cleaning / chilling / catching breath / contemplating? How does radio
      work, club work affect the way you hear music for pleasure?
      At the moment - very dubbish in General: Tsé - Ghost Dub / Biosphere
      - Cirque / Blue Jam / Chris Morris / Jefferson Lembeye - Rogue State
      / Lavatron.X - Norscq remixes / Thermos / The Seven Sages of
      Mesopotamia / Icarus - Misfits / Sandoz - Chant to Jah / Shelly
      Hirsch - States / Burnt Friedman - Con Ritmo / Rhythm & Sound - No
      Partial / Bip-Hop Generation vols 2-4 / Lester Lewitt - Kombinations
      Hypothetiqs / BXT - Soupçons / Lazar Perry - Oriental DubŠ

      [11] "Wet Dreams of the Pope" is a short story co-written with me
      that appears in my first book of short stories WIGGLING WISHBONE:
      <http://www.autonomedia.org>, also available as a chapbook at
      <http://www.angelfire.com/az2/eraserheadpress/wetdreams.htm>. The
      reading took place in 1992[ish] on "Epsilonia" one of the many
      excellent programs on Radio Libertaire, station of the Federation
      Anarchiste in Paris. Wreck This Mess-Paris is also STILL available
      there on Tuesday afternoons with your navigator, LaurentŠ This comes
      off an old cassette called "Black Ruff Ruff Sifichi #2"Š

      WTM: what was it like to work with Black Dog? how did it come together...?

      BS: "A pure pleasure which has had fruition with a deep friendship.
      We are talking about a new project already for later in the year. We
      would love to play at City Lights in SF. It is great to be able to
      work with people who know what art is, what life is about, who have a
      great sense of humour and who are willing to go all the way. Double
      Woof to the Black Dog! Sharp and cool. Straight no chaser."

      ؉؉ ؉؉ ؉؉ ؉؉ ؉؉

      * "plus another few hundred when it hits the BSI list!" Ezra

      In the coming weeks nothing from WTM. The "Jonges van de Vlakte" will
      be gobbling up WTM air space. After April 16 stay tuned for "7 Sages
      of Mesopotamia", "Rogue State" & other material from Land Records,
      Paul Panhuysen recording Mexican Jumping beans connipting on the
      heads of various percussion instruments, Chris Dooks, French Drum &
      Bass, Stitch, The Amsterdam Klezmer Band, CV Stevens, Czech
      Alternative sounds, more from Norsq, another yodel special,
      Empreintes Digitales, new BSI, some Word Sound stuff taken from a
      soundtrack, Jane Gilday [ex of The The], Great Red Spot, and much
      much more.

      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

      ؉؉ ؉؉ ؉؉ ؉؉ ؉؉

      Wreck This Mess playlists appear somewhat monthly in 3am Magazine
      <http://www.3ammagazine.com> under the title "Radiophotogram: Visual
      Radio". Also posted is a depth-of-focus interview with Judy Nylon.

      "For a more international, commercial feel, try 3am Magazine. . . .
      The cosmopolitan, rive gauche quality of the site is wonderfully
      obvious. From 'cutting edge short fiction' to political satire and
      music reviews, 3am is a dream publication for the young, literary and
      clued-up, and it counter-balances nicely the London/New York
      publishing behemoth." o Bill Broun, The Times (Monday April 30 2001).

      "Cool ezine 3am is worth taking a look at for a dip into the edgier
      waters of literature on the net." o Michelle Pauli, The Guardian

      ؉؉ ؉؉ ؉؉ ؉؉ ؉؉

      CONTACT ninplant@... FOR REMOVAL

      [Non-text portions of this message have been removed]
    Your message has been successfully submitted and would be delivered to recipients shortly.