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WRECK: France is Norscq by Norscqwest

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  • ninplant@xs4all.nl
    wReck thiS meSS ~ Radio Patapoe 97.2 ~ Amsterdam Ethno-Illogical Psycho-Radiographies: no. 209: Wreck Norscq by Norscqwest Maandag, 4 Maart 2003 (17.00 to
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      wReck thiS meSS ~ Radio Patapoe 97.2 ~ Amsterdam

      Ethno-Illogical Psycho-Radiographies: no. 209: Wreck Norscq by Norscqwest

      Maandag, 4 Maart 2003 (17.00 to 19.00)

      SIMUL-streaming <http://freeteam.nl/patapoe/>

      "I reject both soldiers and priests because my dream is to die
      without an intermediary."
      o Boris Vian

      See French morceaux below plus full interview with Norscq
      57 > The Atlas Project [1]
      292 (alch) > The Atlas Project [1]
      Yea Yea > Wampas [2]
      Hop Hop > Interim [3]
      FM-Am > Gringos [4]
      Je Suis Snob > Boris Vian [5]
      Rincage 01 > Jim Thirwell/Foetus vs Norscq [6]
      417 (roots) > The Atlas Project [1]
      Rincage 03 > Tempsion vs Norscq [6]
      nOh > Norscq [7]
      + Le Clavier / Exercise 1 - Lettres > ProLoisirs [8]
      Rincage 04 > Ammo vs Norscq [6]
      + Hedgehog Operation > The Grief [9]
      Retroaction > The Grief [9]
      ArtichoKe 9 > Norscq [7]
      Rincage 07 > Quattrophage vs Norscq [6]
      Je Ne Regrete Rien > Edith Piaf [10]
      Rincage 08 > DJ Grasshoppa vs Norscq [6]
      Simone Schull Puts Up Smoke Screens of Words > The Grief [9]
      Je Suis Libre [Paul Forte] > Poemiens [11]
      Rincage 09 > Jack Dangers vs Norscq [6]
      Hi-Limba > The Grief [12]
      Awaiting the End > The Grief [12]
      Essorage > Toshimaru Nakamura vs Norscq [6]
      Ewitt > The Grief [12]
      Je Suis Libre [Paul Forte] > Poemiens [11]
      Essorage > Mash'ta vs Norscq [6]
      243 (gila) > The Atlas Project [1]
      Essorage > Black Dog vs Norscq [6]

      [1] "Wechma" on Lytch <www.multimania.com/prikos>

      [2] Great punky rock band from late-80s Paris-area. I had a very
      tangled affair with the drummer's gal during the mid-80s. She had
      incredible skin. Spent hours taking caring of it. Talk about coitus
      interruptus! I remember her on a New Jersey beach - Ocean Grove, a
      methodist camp-meeting town to be exact. Next to Asbury Park. I
      remember her very casually removing her bikini top and her naturally
      wanting to get a tan on her perfect breasts. I remember a young girl
      coming over to our towel very excited and asking whether this was
      allowed! She was here on vacation and wanted to do the same. She
      removed her top as well and soon we had the whistling methodist
      lifeguards darting through the sand toward our towel with very very
      concerned looks on their faces. I remember Blondine saying something
      like "what is wrong with beauty? What is wrong with nature?" to the
      lifeguards. They weren't interested in some post-doctoral discussion
      and gave us a warning that if she persisted we would be arrested.

      [3] Interesting post-rock band from late-80s France.

      [4] I know absolutely nothing about this band except that they are French.

      [5] Boris Vian Gets Pataphysical: "In his attacks on the keystones of
      his society, Vian is one of the great Š comic iconoclasts." o J.K.L.
      Scott, author of From Dreams to Despair

      When Boris Vian was still young he announced he'd never live to age
      40. So when he died in a Paris cinema on June 23, 1959 at age 39 his
      prediction seemed prophetic. But given his medical history of heart
      problems, the end of his short life had been a long time coming.
      Doctors'd hounded him for years to give up his trumpet and
      mad-with-living lifestyle. He'd already had one stroke in 1956, but
      when you tell a multi-tentacled Jacques-of-all-trades like Vian to
      slow down you might's well cut the tentacles off an octopus and tell
      it to go for a swim in a shallow puddle.

      On that June morning, Vian sank nervously into his rickety seat in
      the Cinema Marbeuf. The curtains parted and the film version of his
      controversial novel, J'Irai Cracher Sur Vos Tombes (I Spit On Your
      Graves) flickered across the screen. He'd already fought over the
      treatment with producers and denounced it. Ten minutes into the film,
      he reportedly stood up and yelled, "These guys are supposed to be
      American? My ass!" At 10:10 AM he collapsed back into his seat. He
      died of a heart attack en route to the hospital. The horror of coming
      face-to-face with his "own" Frankenstein literally may have killed
      him - fragile body betraying implacable soul.

      Like compatriot-protégé, Serge Gainsbourg
      <http://www.litline.org/ABR/ABR.html>, Vian's career was jettisoned
      into (inter)national notoriety by one work, I Spit On Your Graves,
      [TamTam Books, 1999, English translation Boris Vian & Milton
      Rosenthal 200 pp. $17.00]. But as Queneau emphasized, "that's far
      from being the whole story." He was a civil engineer, inventor
      [designing his own furniture and a whimsical elastic wheel],
      translator, and film actor [most famously in Liaisons Dangereuse with
      Jean Moreau]. Singer, trumpeter, songwriter, MC, and cynosure of the
      Paris jazz scene. As a critic, he found time to promote others like
      young Serge Gainsbourg and Jacques Prévert. He also served as Philips
      Records' creative advisor, and was a member of the College de
      Pataphysique. His advice? Specialize in everything. But it was as
      novelist, that he'd gain his bittersweet celebrityŠ. [from my ABR
      review and a profile published by Gadfly]
      o Recommended English site: http://www.toadshow.com.au/rob/vian/vian.htm
      o http://www.cybertheque.fr/perso/anita/vian/
      o Boris Vian et Ses Interpretes 2-CD collection, Polygram Records, 1991.

      [6] "Lavatron.X" on Shambala <www.multimania.com/shambala>. Look for
      an interview with Norscq soon. Here we have a wide array of producers
      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.

      [7] "Lavatronic" on Prikosnovenie <www.multimania.com/prikos>
      Electrospheric contemplative turbulence.

      [8] "Cours Complet de Dactylographie" Proloisirs. Inspiration in an
      old learning-to-typewrite disc.

      [9] "Kittystra 4" Danceteria, 1989. "Retro-action" piece actually
      contains some sampled reuse of yodeling. Something I NEVER noticed

      WTM: did you know there was yodeling on about the 3rd or 4th cut
      around retro-action? did you know I wrote a book about yodeling ? I
      have a chapter on sampled reuse of yodeling [dreadzone, dub
      syndicate, adrian sherwood, orb, art of noise

      N: No I didn't notice it and I didn't know you wrote such a book...interesting.

      [10] "The Edith Piaf Story" on Bovema/EMI. A tragic child/creature of
      Paris died on a rainy October morning in 1963.

      [11] "Les Poemiens" on Disques Mouloudji great ensemble of
      call-respond poetry trio. They interpret Villon, Desnos, Max Jacob,
      Aragon, Rimbaud, Apollinaire, Breton, Walt Whitman, and others.

      [12] "Retrospection 1984-1992" has it been released?

      N: Retrospection has never been released, it is a compilation I did
      for you, some sort of a best of...

      WTM: where do you come from [childhood/musically]? where does the
      name norscq come from?

      N: I come from Saint-Malo in Brittany where my parents had a small
      factory building gear for fishing industry, no artistic background. I
      discovered music as a teenager in the mid 70's, big bands of that
      time [ my favorite were Pink Floyd and Led Zeppelin and still are ].
      then went punk scene and I started with guitar and bass in a
      Ramones-style friends band slowly drifting towards Joy Division
      style. in 1983 I started The Grief dealing with bass and electronics
      until 1992. from this point I stopped doing records until 1999 and
      during that period I was more involved in composing for theater or
      dance and producing other people's music. Norscq has no meaning and
      not real orgin, just nice sonority and consonance. it came out after
      a night doing cadavre exquis with words and letters.

      WTM: your music always seems to have a muscular and unresolved
      element of dynamic tension between beauty and ugly, between noise and
      melody, between aggression and contemplation. do you feel that ?

      N: yes I do feel that although it is not anticipated in a conscious
      way and reveals itself while pieces are coming out. I feel the same
      in my whole life anyway so globally the music is always some sort of
      a photograph of myself at a certain time. I am trying to get rid of
      this reactive way of doing things but there are so many things in
      this degenerate world which keep up my anger! I just try now to let
      it go as it comes and not fight with this.

      WTM: How much were you involved with the Grief? How much of their
      ambient rockin industrial sound were you responsible for. They
      reminded me a little of the Young Gods or Soft Machine...

      N: I was playing bass, programming electronics and
      engineering/producing all The Grief's music. apart from our first two
      LPs wrote by the band in an intuitive and spontaneous rehearsing way,
      I wrote all the following musical material. I don't know so much Soft
      Machine but it's true we had a similar development to the Young Gods
      who started more or less at the time... except we were much more
      unpredictable and capricious and by the way much less popular and
      easy to follow. I have incredible souvenirs from this adventure, so
      rough and iconoclast, loved that!

      WTM: somehow my ears liken your work to not only Hector Zazou but
      also Meat Beat Manifesto and On-U Adrian Sherwood in some odd ways.
      Perhaps it has to do with the seamless manner in which you combine
      seemingly distinct and alien sounds

      N: I don't know so much Hector Zazou who I feel is too much
      opportunist but it's true I feel close to Adrian Sherwood and mainly
      Meat Beat Manifesto and I would add J.G. Thirlwell. It is funny you
      mention that, as Tino Corp, Jack Dangers' label, will re-issue soon
      "Storm the Studio" as a double cd, the original one and a remix one
      for which I just finished a remix one month ago. regarding
      combination of distinct and alien sounds I don't really think
      previously about that kind of combination, I am not at all a
      conceptual artist, I am just a musician trying to translate his
      feelings and emotions with this abstract and resonnant media music
      is. it is some sort of a sound-appeal.

      WTM: It seems you find a lot of inspiration in urban settings [noisy
      soundscapes] but also in world/alien culture/foreign musics like with
      your Atlas project which seems to fuse with no problems indigenous
      sounds/rhythms with industrial and drum-n-bass type material. I like
      traditional musics from a lot of countries for a long time. I think I
      am mainly concerned by this deep human side and its roots against its
      growing environment. this maybe explains as well this constant
      dynamic between aggression and contemplation in my music. the fight
      between my inmost intimate and unknown desires, how I try to satisfy
      them and how I try to assume the way it happens in my reality or in
      the world's reality. I guess I will never be satisfied, always
      expecting much more.

      WTM: what do you listen to [or look at or travel to] when preparing
      for your next project?

      N: I am just back from a lonely trip around South-East Asia during
      almost 4 months and I am currently trying to re-adapt myself to our
      decadent western world and it's not that easy. I think for now I
      won't do any traditionnal music inserts into my next projects as I
      did with arabian moods in atlas project, I don't feel it very
      satisfying. so I don't particularly listen to any kind of music to
      inspire me. my main source of inspiration has always been cinema but
      I am slowly getting into litterature and I recently I wanted to
      "in[vest] my musical visions Jim Harrison's book" but I don't know if
      I will do it. My next concrete project will be a collaboration with
      Black Sifichi, which will be named "Super Stoned" and we intend to
      build a powerful trashy / electro / absurd / provocative / poppy /
      iconoclast duet. we already released a madonna cover of "open your
      heart" on Sabotage Rec, an Austrian label. more personnally I have
      ideas in my mind but I need time to get them more mature and ready to

      WTM: What do you listen to when you are at home away from work. for
      pleasure? for relaxation?

      N: I am a forever fan of Korean traditional musics such as Pansori
      and Shinawi and as well of Steve Reich and Giacinto Scelsi. for more
      "modern" music it really depends on my moods so it is very large from
      jazzy Maureen Sullivan and John Kirby to People Like Us or
      disrespectful Messer Chups. on the other hand, as I am getting more
      and more contemplative I like to listen to abstract and ambient stuff
      as for example Biosphere, Pan American or Mika Valno and a lot more.

      WTM: what is the idea behind lavatronic? and lavatronX? do you work a
      lot with repeated themes/leitmotifs? do you work with chance or is
      your material fairly scripted

      N: there was no idea behind Lavatronic, just the uncontrollable urge
      of something to say. it is true I am working a lot of repeated theme
      drifting towards huge build-ups. I often start with one sound or one
      song structure or one external idea (a word, an image, a feeling...)
      and then I fool around for hours letting chance and accidents to make
      things happen. the result being very often quite far from the start.
      in an opposite way the idea of Lavatron.X was to prolong life of the
      Lavatronic CD, I like so much-so close to me. I am really happy with
      it as all people were really amazing, they all entered the game with
      talent and so nicely. I tried to get in touch with a wide range of
      people and it is sad our budget was so small because I would have
      asked to one or two more artists or ensemble. anyway I think we all
      succeeded a good remix record. Remixing work always interested me and
      I think the interest of this work is opening. I am really bored when
      I listen to a remix album of bleep music remixed by glitch musicians.
      everything now in our society pushes now everybody to take refuge in
      various families to protect themselves and this is a dead end...
      please open, open everything, please, it's the only way to go further

      WTM: do you find sound generally and working on sound as producer
      enslaving ? transcendant? addictive? bothersome? what is the magic
      moment for you as a music person?

      N: I don't think working on sound or music itself is enslaving it is
      more the life it drives which is pretty difficult, always fighting
      against time and money. it requires a one hundred percent
      concentration of every minute not to get lost, not to lose yourself,
      your basic lines. the most magical moment for me as a music person is
      when, after hours and hours, days and days searching and fooling
      around an idea, every elements start to stick themselves one after
      the other, from that very moment everthing is going so fast and can
      go so far. I can feel a physical sign of this moment as my knees
      start to move nervously on their own without any control and it is
      for me the most exciting until the track is finished. then generally
      a small depression moment appears until I connect myself to a new
      idea. It is a very difficult life but very exciting and full of
      adventures, intersections, learnings, pushing myself always farer,
      watching always deeper inside and wider around and much more...

      WTM: what was the concept behind atlas project. is it a group or concept

      N: The Atlas Project has a strange story. when I stopped The Grief in
      1992, I wanted to find a way to give it a happy end. for that I
      intended to make remixes of my favourite pieces under several
      imaginary identities. I started to work on 4/5 tracks but I quickly
      decided to stop preferring to turn myself towards future rather than
      to get haunted with my past. one piece was finished anyway, Hi-Limba
      from an Out of Nowhere cd compilation and appearing as well on
      Daedalus (part 5). this piece had originally an arabic sample so I
      did an arabic style version. as I was quite happy with the result I
      decided to extend this idea of mixing arabic influences to my
      electronic background to make a full album which I wanted more opened
      in a commercial point of view. so I wrote about ten songs and as I
      wanted vocals I asked my friend Phil Von from Von Magnet to come and
      sing on a few pieces, he enjoyed the project very much and sang on
      most of the pieces. but I was not really convinced with the global
      idea and I decided to abandon it and at the same time stopped doing
      records for a few years. in 1998 Prikosnovenie, who heard the demo
      from Phil Von, asked me if I would agree to have this demo released.
      first I refused as I was not satisfied with it but finally I agreed
      as I thought this would push me to come back into doing music and
      records. so The Atlas Project is definitely not a group and not
      really a concept, just a story ending with the release of a cd I
      don't like so much, Barbaresque and Wechma I did right after in 1999
      as a counterpoint.

      o There is a US movement to give back the Statue of Liberty to the
      French. The joke is they want to give it back because these Americans
      do not like or understand "abstract art."

      o March 11, 2003 Washington Lawmakers strike a blow for US solidarity
      and against the French and put "freedom fries" and "freedom toast. "
      on the menu. The name changes follow similar actions by restaurants
      around the country protesting French opposition to US war. The French
      Embassy in Washington had no comment, except to say that french fries
      actually come from Belgium.

      o The French sent boxes of pretzels to the White House. A pretzel is
      a food stuff now categorized as evil with terroristic tendencies.
      After all it was a pretzel that tried to choke Bush to death. Aren't
      pretzels German! Close the American pretzel factories! Now!

      o "Going to war without France is like going duck hunting without
      your accordion." Donald Rumsfeld, U.S. Secretary of Defense

      o "As far as I'm concerned, war always means failure." Jacques
      Chirac, President of France

      o Michael Moore on the French: Šwe love France. Yes, they have pulled
      some royal screw-ups. Yes, some of them can be pretty damn annoying.
      But have you forgotten we wouldn't even have this country known as
      America if it weren't for the French? That it was their help in the
      Revolutionary War that won it for us? That it was France who gave us
      our Statue of Liberty, a Frenchman who built the Chevrolet, and a
      pair of French brothers who invented the movies? And now they are
      doing what only a good friend can do - tell you the truth about
      yourself, straight, no b.s. Quit pissing on the French and thank them
      for getting it right for once. Š"


      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


      o "plus another few hundred when it hits the BSI list!" Ezra
      o Old playlists archived at <http://www.wfmu.org/~bart/>
      o Recent selected Playlists [early stages] at
      o Special playlists can be found at 3am Magazine
      <http://www.3ammagazine.com> under the title "Radiophotogram: Visual
      Radio". Also posted is a depth-of-focus interview with Judy Nylon. To
      appear soon: excerpts from my scandal-delicious paris novel, PARIS
      SEX TETE, a review of the spoken word works of Roberto Valenza...


      CONTACT ninplant@... FOR REMOVAL

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