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WRECKing Japan // World Premiere

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  • ninplant@xs4all.nl
    wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam Ethno-Illogical Psycho-Radiographies: 324: Made in Japan PTP in the ether: 88.3FM Where purity & puerility are
    Message 1 of 1 , Mar 16, 2006
      wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam

      Ethno-Illogical Psycho-Radiographies: 324: Made in Japan

      PTP in the ether: 88.3FM
      Where purity & puerility are synonymous
      streaming via internet:

      6 Februari 2006 / 17.00-19.00

      {[This Monday, March 20 I will premiere [internationally?] the
      excellent new SPOKEN DUB MANIFESTO on Jarring Effects. This is spoken
      word by the bastard off-spring of William Burroughs, the rowdy
      neighbors of Linton Kwesi Johnson, the fellow-travelers of Kathy
      Acker. It places a moist towelette soaked in formaldehyde up to the
      barking maw of irresponsible managers of mendacity and power
      everywhere. The disc features the
      post-On-U ethnomusicological dub of Brain Damage as treacherous and
      yet breathtaking
      terrain upon which the wordsmiths must find a foothold. The wordsmiths include:
      Hakim Bey, Mark Stewart, Ted Milton, Black Sifichi, Mohammed el Amraoui,
      Giovanni Marks, Dylan Bendall, Suzanne Thoma, Emiko Ota, Sam Clayton,
      and yrs troublingly Wreck This Mess. Will also include
      related, parallel and extrapolated sound material.
      LISTEN LIVE 5PM-7PM Amsterdam time
      4PM-6PM London time
      11AM-1PM ESTŠ]}


      Jezebel > Ikue Mori & Zeena Parkins [1]
      Rehome > Takagi Masakatsu [2]
      Deft > Ikue Mori & Zeena Parkins [1]
      Brest No. 4 / Le Vauban > Tomo Yoshihide [3]
      Wakimizu > Yoshida Brothers [4]
      Pipe Tale - Indigo Rose > Aoki Takamasa [5]
      Defcon > Aun [6]
      Spring > Tsuchiya Yasuyuki [7]
      Breaking Dub > Dry & Heavy vs King Jammy [8]
      Naminote (Rhythm Mix) > Susumu Yokota [9]
      As I Turn Around, A Movement Catches the Corner of My Eye > Maju [10]
      The Butterfly, The Bones, and the Rainbow > Hiromichi Sakamoto [11]
      Headphonics 1/0 > Ryoiji Ikeda [12]
      Imitation Flesh > Hidenobu Ito [13]
      There's Not Much Left > Aoki Takamasa [5]
      Paths [Toru Takemitsu] > Mark Blaauw [14]
      Mikka S for Violin Solo [Xenakis] > Mifune Tsuji [15]
      Atheist > Tetuzi Akiyami [16]
      Tsurau Jyongara Bushi > Yoshida Brothers [4]
      In Between Frames > Ken Ikeda [17]
      Wanna-Na-Dub > Audio Active [18]
      Heavy Special > Dry & Heavy [19]
      Kung Fu Fighting > Audio Active vs Carl Douglas [20]
      Love Explosion Dub > Dry & Heavy vs King Jammy [8]
      Circle-Jack > Melt Banana [21]
      Modern > Yoshida Brothers [4]

      [1] "Phantom Orchard" on Mego <www.mego.at>. Two of the most
      relentlessly experimental of [female] experimenters. Interesting
      synthesis of organic and digitalised sources. Something verging on
      spectral and a kind of makeshift respite from undesired noise

      [2] "TokyoZone: Musiques" on Tokyozone <wwwtokyo.zone.org>, a
      French-Japanese collaboration that sounds electronically
      simultaneously pleasant and extreme. Exploration for exploration's
      sake is mitigated by near harmonious and trance scapes that allow the
      listener to glean some melodic pleasure out of the abstraction.
      Includes Japanese Progressive Form minimal electronica pioneers and
      some French technauts like the excellent veteran Jac Berrocal.

      [3] "4. Hmmm" <www.actuellecd.com>. A disturbing ride over a
      landmined road. And this is supposedly the calmest of the 3. You will
      lose parts of yourself while listening.

      [4] "Tsugaru Shamisen" was self-titled cdr sent to me by Claude, a
      fellow yodel-naut. Excellent collection of this sound/music: a
      version of Shamisen music played on a three stringed Japanese Lute
      and sounding like the Feelies, from the "Tsugaru" region in the north
      of Japan where the winters are long and heavy and so the people
      amused themselves with this music. Its roots lie in the arab
      instrument, the oud [or European lute - see Jozef van Wissem's
      renovation of antique lute music.] The shamisen was introduced to the
      Far East in the 16th century and helps give Asian chamber music,
      "Kabuki" and "Bunraku"(puppet play) music its unique sound. The
      Yoshida Brothers nimbly and intensely play a kind of very engaged and
      intensely punk [Wire comes to mind] version of this musicŠ

      [5] "Indigo Rose" on Progressive Form
      <http://homepage.mac.com/p_form>. Parsed and carefully cut electronic
      glitches and ambiences, tersely squeezed through a vinyl pasta maker.

      [6] "Hikari" on Church Records.

      [7] "Forma.1.02" on Progressive Form
      <http://homepage.mac.com/p_form>. Joy ride through unspoken
      ambiences, wearing trousers that restrict movement and transpiration.
      A convincing compilation of PF artists.

      [8] "King Jammy meets Dry & Heavy in the Jaws of the Tiger" on BSI
      [RIP] Something about this disc really slithers, shakes and crawls up
      your spine. It has something to do with the cultural malapropism of
      Japanese dubsters doing incredibly excellent dub [they are not the
      first = Pecker Power, Audio Active...] but there is something
      intensely mysteriously interesting going on - it may have to do with
      the dramatic tension between social awareness/consciousness and total
      delinquent decadence teamed with a kind of tongue-in-cheek but deep
      abiding sense of respect. But the great dub masters had a lot of
      grungy noisy fun and that is in clear evidence here. One of my fave
      dub records of past 4 years.

      [9] Unreleased, on Leaf Label.

      [10] "Maju-2" on Extreme.

      [11] "Half Moon of Pascals" on Les Disques du Soleil
      <www.dsa-wave.com>. Absolutely stunning material on this side
      project. Incredibly intoxicatingly beautiful composition.

      [12] "+/-" on Touch <www.touch.demon.co.uk>. Dot-dash, the man of
      genius who makes a lot out of almost nothing. Amazingly effective

      [13] "Tokyo Tech Breakbeats" on NS-Com.

      [14] "Blaauw: Trumpet Solo" on BVHaast <www.bvhaast.nl>. Blaauw
      performs the work of other composers inc. Stockhausen on trumpet.

      [15] "Berio - Xenakis - Dashow" on BVHaast <www.bvhaast.nl>.

      [16] "Pre-Existence" on Locust <www.locustmusic.com>. the skeletal
      remains of the blues reassembled to look like a Toyota Corolla
      sticking nose first into the dark muck of the banks of the

      [17] "Tzuki [Moon]" on Touch.

      [18] "Adrian Sherwood presents the Master Recordings" on On-U / EFA
      <www.efamedien.com>. Great and inexpensive reconsiderations of some
      thin slice of the corpulent On-U legacy.

      [19] "Full Contact" on BSI. "Full Contact" Was a fairly successful
      outing for this all-Japanese dub crew, Shigemoto Nanao is "Dry" and
      Tekeshi Akimoto is "Heavy" with help from other Japanese dubsters. It
      lacks the delirious mix of spirituality and garage band joyous and
      dirty wantonness of their follow-up but there is definitely a lot of
      wonderful enthusiasm for the echo and reverb knobs.

      [20] "Kung Fu Fighting: Remixes" on Echo Beach <www.echobeach.de>.
      sinful load of retro campy inspiration. Don't go to your next party
      without it. Remixing the classic KFF are Noiseshaper, Dreadzone, Kid
      Loco, Sherwood, Audio Active, Pole[!], Seeed, among othersŠ
      Exhilarating and pure post-pop iconoclastic homage.

      [21] "Charlie" on A-Zap. Punk in all its caving-in upon itself
      existential romanticism.

      Despite having known a good number of Japanese people, I still know
      very little about Japan except what I've read on Zen by Zen masters,
      what little I know about their music, through William Gibson and a
      Japanese literature course I once took. I have also had a number of
      Japanese girl friends and yet, what they told me about Japan was all
      either modest, vague, general, or critical. Although the Japanese
      have a reputation for nationalistic chauvinism that has been
      mitigated and tempered by the shock of WWII. The people you meet
      outside Japan, that leave Japan are probably significantly different
      in their views but also in their relation to the rest of the world.
      Once outside the national milieu, the Japanese become modest, shy,
      relativizing, non-nationalistic even.

      I recently saw the inspiring Japanese film VIBRATOR [2003] dir. By
      Ryuichi Hiroki. An incredibly evocative and meditative road movie
      that reminded of Wenders' KINGS OF THE ROAD in atmosphere and
      existential movements. A strange attractive woman walks out of a
      truck stop convenience store and steps into the truck of a lonesome
      truck driver who may or may not be married and has children. The film
      also reminded me of the incredibly powerful FOURTH MAN. I like movies
      that show lots of incidental and real landscapes and backdrops and in
      this film you get the disconcerting feeling that Japan looks a lot
      like Ohio.

      I have been dealing for years with the tantalizing inscrutability of
      several Japanese women I have known, one who in my fiction goes by
      the name of Suki or Rita Mitsouko. Her being may have something to do
      with the very ambivalent but very post-modern stance of Japan in the
      world. both withdrawn and aggressive, both peaceful and violent,
      respectful of tradition and strangers but then simultaneously
      ruthless and nihilistic and rootless. Rooted in tradition and
      seemingly without any roots, aware of tradition and in total denial
      of them, materialistic but simultaneously almost bound to a certain
      inexpressible spirituality. Into the newest most modern and
      alienating of cultural expressions such as being at the forefront of
      noise experssionism of post-mod sampling of sounds that unite us in
      their ability to alienate. A conundrum in a mystery in a whisper of
      an insinuation...

      She wanted me to be John Lennon to her Yoko. Ok, there was a
      resemblance but she was steeped intellectually in the work of Yoko
      and emotionally in the Lennon-Ono collaborations. We even once made
      love among the stone outcroppings in Central Park just beyond
      Strawberry Field. She had a passive way of divining her own fate,
      passive aggressive is not the term I am looking for. She was a
      defiantly open slate, she was in her very absence an immense
      presence, her silence spoke volumes to mangle a hackneyed cliché. She
      would not demand or direct or beg or wish or hope or nag or plead or
      debate the merits of or even try to blackmail. Her mere presence led
      to amorous trysts that can only be described as liaisons of very
      weird kind. The only popular equivalent would be LAST TANGO IN PARIS.

      From SPERMATAGONIA: THE ISLE OF MAN [Autonomedia, 2004]:
      I kissed the pale flesh across the skull that contained her satisfied
      cerebrum and licked the brush burns on her kneecaps (the size of
      dollhouse tea cups) and asked her what it was she actually did. Work?
      Activities? Hobbies?

      "My work just being. I just being." I did not yet know what this
      meant. I mean, she had a point; it is work just surviving. Her letter
      was written on a reproduction of a line drawing by John Lennon, torn
      in the shape of a flower, from a glossy art magazine. It revealed
      Lennon performing cunnilingus upon a recumbent Yoko Ono. "Playing
      Yoko's Pussy Like A Mouth Organ" is the most despised image to Beatle
      fans. They seem to think it shows his slavish relationship to "Queen
      Oh NO." Many of these same fans insist it was her who lured him to
      his death! [Fans by their nature are unforgiving and rancorous.] In a
      thought balloon above Yoko's head, Nikki had written (entire contents
      of letter): "On voice of myself leaves the ego in ecstasi to thin
      air. Goal to cosmic us?"

      From BEER MYSTIC:
      I met Rita Mitsouko at an art opening, and no matter what I said she
      seemed capable of converting any misunderstandings concerning our
      language difficulties into the very basis of and justification for a
      passionate relationship. The more I said, the less she understood,
      the hotter it all got. If I said I thought Georgia O'Keeffe's
      paintings of flowers were sexy, she would grin, giggle, and months
      later send me a letter of such awkward passion that I, at first,
      thought she must have the wrong guy. But I was indeed just the right
      wrong guy.

      This "Wench," now of mythological perpetrations, began sending me
      other packages too: homages to automotive despair, miniature
      Duchamps, little tubs of polished stones, a reprint of "Girl in White
      Stockings" by Gustave Corbet [inscribed on the back: "you like? I
      like."], a book of Magritte paintings, and dedications to my
      "terrorist black-eyes." The ones I had shown her as we careened
      through the late night streets with my hand down her pants, fondling
      her pudding-dish buttocks. Her paintings were glossy black splotches
      on white paper. And she would explain in broken English that "light
      no good hurt eyes." I squinted. She shook her head as if she
      understood. I grabbed her black hair and said "Dark better."

      She once sent me a lozenge-tin filled with shattered windshield
      crystal and a bloody tooth from a car that had exploded in her native

      The first time I was naked with Rita was so odd I mistook it for
      profound. What a strange bird scraped off a strange Japanese
      landscape painting! We were in her boardinghouse room in Chelsea. She
      cued up a cassette, something she'd recorded at a Paris retrospective
      of the Fluxus Movement for a class she was taking at the School of
      Visual Arts. And then she laid back, black hair on white linen, and
      had me REALLY listen to the recording, the snipsnip of Yoko Ono's
      scissors - "Risten!" - cutting holes in the red dress of Alison
      Knowles, who sounded like she was strangling a violin. She considered
      the sound of Yoko's scissors going snipsnip - "Risten!" - important,
      revelatory, like satori, like ART.

      My liaisons with Rita went further and further - first she began to
      bring ever-riskier outfits down to me - shorter skirts, crazier
      heels. She spent a lot of her endless days of free time (a mystery in
      itself) preparing for our next tryst by shopping the thrift stores on
      the Lower Eastside. It was as if she were flirting with danger,
      seeing how far we could go before the guard sensed something. We
      never thought that maybe the guard was onto something or all of it.
      We never thought that maybe he didn't care or that he approved. We
      never thought he was his own man. We never thought that maybe he was
      monitoring our behavior for his own diversion.

      Once inside her room she would dress me in her best John Lennon gear.
      I was Lennon to her Yoko. She also managed to find ever more
      interesting bindings and ever more inventive ways to cut off
      circulation to my gnarled cane until it was purple and the veins as
      thick as binding cord and its length way beyond what flesh and sinew
      had previously established as humanly possible. She would go down on
      her exquisite little knees, tickling the blood through the thick
      distended cords with her tongue. And I, in my turn, sticking her
      head, then neck, then shoulders and torso out the open window as if I
      were being directed by an action movie director and I was a mere
      stand-in for someone more substantial and famous. Her hair took to
      the breeze, the potential for passersby, her screams, broken glass.
      The chances of the hospital workers seeing, pointing up at us.

      And suddenly wondering how she could possibly go on living for these
      afternoons and nights and not much more. Her dad was, it was hinted
      at, something between a Yakusa and a trade minister. Something about
      this was why she was here. Thirty-something and travelling with her
      father? I didn't ask. Some people have causes or functions or
      schedules or habits or hobbies; she had these liaisons. Really, I'm
      not flattering myself; she lived for these liaisons, filling her day
      with shopping for Lennon-Ono collectibles and souvenirs, new clothes,
      granny glasses, and eating the same bland foods every day. She sat in
      near empty theatres for the early shows of movies in which she could
      neither follow the English nor the action, but she went anyway.

      Kamikaze means "divine wind." It refers to the divine wind that
      flushes the Japanese soul of all fear, the divine wind that rescued
      the Japanese from the Mongol hordes in Kamikaze means "divine wind."
      It refers to the magical wind that flushes the Japanese soul of all
      fear, the divine wind the Sun Goddess sent that rescued the Japanese
      from Kublai Khan's Mongol hordes in the mid-13th century During the
      prior theatrical expansionism Kamikaze was the name given their Zero
      fighter plane, the planes they loaded with crude bombs, gasoline, and
      a ton of explosives in their snouts.

      Kamikaze was also the name given to young pilots (avg. age 16 with
      perhaps as little as 10 hours flight training) who "volunteered" to
      become "human bombs." These young pilots were also called kikusui or
      "floating chrysanthemums." The chrysanthemum is a hearty herbaceous
      perennial, with white and yellow flowers that began to appear as an
      Imperial Japanese emblem, emblazoning shields and swords and the
      like, sometime after 900 AD. The flower symbolizes, one would think,
      elegance and purity under adversity. (Here the perfume of metaphor
      begins to intoxicate the soul in the service of the state.)

      On his last evening upon this earth the kamikaze was feted until
      thoroughly intoxicated with the collective unreason of patriotic
      hubris-and multiple sakes. The pilot was to write: "Today in flower /
      tomorrow scattered by the wind / such is our blossom life / How can
      its fragrance last forever?"


      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 Super Nova is a big potpourri of sounds influences and information
      both local and elsewhere. Can you picture a sound? On Sundays

      o Wildcat Radio: Anarchist organization presents radio as it should
      be - in your ear. Saturdays 18.00-20.00.

      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)
      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

      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/>


      CONTACT ninplant@... FOR REMOVAL

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