Человек-легенда - не только в том смысле, что стал объектом почитания и культа, но и в том, что сам создает собственный миф, манипулируя сознанием слушателя и зрителя и производя над собой самые шокирующие операции. Мистификатор. Провокатор. Загадка - потому что никогда до конца непонятно, делает ли Пи-Орридж что-то всерьез, или в очередной раз хитроумно взрывает изнутри поп-культуру, на словах подходя к своей деятельности без всякой иронии. Музыкант, художник, публицист, автор видеоинсталляций и перформансов. Безусловно, один из важнейших контркультурных персонажей на протяжении последних нескольких десятков лет.
Первая значимая (и, наверное, главная) музыкальная история Пи-Орриджа - это группа Throbbing Gristle, созданная в Лондоне в середине 70-х и просуществовавшая до 1981-го года. Именно Throbbing Gristle мир обязан появлением и самого стиля "индастриал", и его названия (лейбл, на котором музыканты выпускали свои записи, назывался Industrial Records). Throbbing Gristle были предельно радикальным ответом на все основные музыкальные проекты того времени - кибернетической утопии Kraftwerk и примитивной дикости только зарождавшегося панка английские безумцы противопоставили музыку, максимально ненавидящую собственного слушателя. В 1981-м году Дженезис Пи-Орридж основал группу Psychic TV, существующую по сей день и ставшую главным местом реализации его музыкальных концепций.
Одной из важнейших идей Пи-Орриджа, которую он заимствовал у Уильяма Берроуза, стала технология "нарезки". Суть её состоит в том, что произведение искусства доказывает свою подлинность и получает истинный смысл, только будучи разрушенным, растащенным по кусочкам и переформированным в произвольном порядке (здесь, конечно, можно было бы вспомнить и о концепции "случайной музыки", Джоне Кейдже (John Cage)).
Отправлено: 07.12.13 15:06. Заголовок: music: the best 0f 2..
цитата:
music: the best 0f 2013
Genesis Breyer P-Orridge
Leigha Mason, Spit Banquet, 2013. Performance view, 1:1 Gallery, New York, October 11, 2013.
1 ACID MOTHERS TEMPLE We’d been disappointed by live music for a few years, so it was a shock to see Acid Mothers Temple live two times in New York this spring and witness them redefining psychedelic music. Like a group of crazed wizards, they spiritually entrance you.
2 DR. STRANGELY STRANGE, KIP OF THE SERENES (Island) and HEAVY PETTING (Vertigo) One of our favorite bands ever, these Irish pioneers of what is now called “acid folk” were very much in the air this year, as we seemed to hear the quirky, surrealist lyrics and groundbreaking structures of their earliest albums (from 1969 and 1970, respectively) everywhere. 3 TRENT REZNOR We were surprised to receive a very respectful e-mail from Trent Reznor earlier this year asking if we’d remix a song from Nine Inch Nails’s new album, Hesitation Marks (Columbia, 2013). Of course we said yes, and went about adding howler monkeys, Shiva serpent and Tibetan thighbone trumpets, and the voice of my “other half,” Lady Jaye. We were honored to sing with Trent on the chorus.
4 THELONIUS MONK QUARTET, COMPLETE COLUMBIA STUDIO ALBUMS COLLECTION (Sony Legacy) In Paris, we watched a documentary about Thelonius Monk that screened after Marie Losier’s film portrait of Tony Conrad, and were stunned by Monk’s physicality—how, prior to sitting at his piano, he would move in ways reminiscent of an ecstatic Yoruban dancer. Our old obsession with Monk’s work rekindled, we were so pleased to receive this box set as a gift. 5 CHRISTOPHER ANDERSEN, MICK: THE WILD LIFE AND MAD GENIUS OF JAGGER (Gallery Books) In 1963, the Rolling Stones released their first single, “Come On,” and we were instant fans. The Beatles we hated. We wanted rebellion that reinforced our cultural alienation. We bought the official Philip Norman bio-book, and dreary and heavily self-centered and self-censored it was. Then Andersen’s “unauthorized” Mick appeared this past year, filled with all the deviant sex, drugs, and scandals we always suspected.
6 THE SOUNDS OF AMERICAN DOOMSDAY CULTS (Faithways International) Every time we play the sounds of Elizabeth Clare Prophet and her Church Universal and Triumphant, we are thrilled by their weirdness. Prophet devised the most bizarre praying-in-tongues style we have ever heard! She claimed to be in contact with all the ascended “masters”—Merlin, Hercules, Jesus, Buddha, the Archangel Michael. But it’s her list of evil “pop musicians” that has all our friends crying with laughter. 7 LEIGHA MASON, SPIT BANQUET (1:1 Gallery, New York, October 11, 2013) This was the year’s most superb live performance. At a table laid with silverware, silver bowls, etc., the “diners” spat onto their plates, scraping the drool around, clattering vessels as they mixed saliva. Though not intended as a sound piece, Spit Banquet was to us on par with a John Cage masterpiece.
8 HUGO ZUCCARELLI’S HOLOPHONICS This “3-D” sound technology causes the ear to tell the brain it is hearing live sound. A real human skull with latex skin and human hair called Ringo (which Paul McCartney tried unsuccessfully to buy) is the recording device. Psychic TV’s Dreams Less Sweet (Some Bizarre, 1983, rereleased by Angry Love Productions) remains the only fully Holophonic album.
9 HAWKWIND LIGHT ORCHESTRA In 1971, COUM Transmissions, our “action art” group, supported Hawkwind on tour. This year, Edward ODowd (of our current band, PTV3) reintroduced us to these space-rock masters. In November 2012, they put out Stellar Variations (Esoteric) and this past October they released Spacehawks (Eastworld), their most recent emission of acid fun. 10 ALLAN KAPROW, HOW TO MAKE A HAPPENING (Something Else Press/Primary Information) Recorded in 1966 and reissued in 2008, the spoken rules Kaprow gives on this album seem to have influenced every piece of live art we saw this year.
Пост N: 23685
Info: think for yourself, question authority
Отправлено: 08.12.13 07:38. Заголовок: Coma пишет: 1 ACID ..
Coma пишет:
цитата:
1 ACID MOTHERS TEMPLE We’d been disappointed by live music for a few years, so it was a shock to see Acid Mothers Temple live two times in New York this spring and witness them redefining psychedelic music. Like a group of crazed wizards, they spiritually entrance you.
не удивлен=)
цитата:
3 TRENT REZNOR We were surprised to receive a very respectful e-mail from Trent Reznor earlier this year asking if we’d remix a song from Nine Inch Nails’s new album, Hesitation Marks (Columbia, 2013). Of course we said yes, and went about adding howler monkeys, Shiva serpent and Tibetan thighbone trumpets, and the voice of my “other half,” Lady Jaye. We were honored to sing with Trent on the chorus.
The interview stretched over an hour and covered many topics, hence we’ve taken the decision to split it over two pages. The first page is mainly about Genesis’ new book, love and raves. Anyone with even the most vague interest in music should consider reading this essential. click here
Genesis Breyer P-Orridge: Interview – Part two
In this section Genesis talks about Thee Temple of Psychic Youth, animals, Nepal, children and the possibility of Genesis Breyer P-Orridge coming to the UK in the near future. click here
Отправлено: 06.04.14 10:26. Заголовок: Alice Genese
цитата:
Alice Genese's 'Sticks and Bones' CD. 7 songs that will break your heart. Features various members of Psychic TV / PTV3. Limited edition of 100 copies.
Industrial music has gone through multiple incarnations and mutations over the years, but one of the most interesting is its fascination with the winding pathways of occult-flavored psychedelia. Enter Automat and their new self-titled album. Formed at the end of 2011, Automat consists of Jochen Arbeit of Die Haut and Einstürzende Neubauten, Project Pitchfork’s Achim Färber and bassist/radio playwright zeitblom—a pretty heavy duty roster made even more impressive with contributions from Lydia Lunch, Blixa Bargeld and the one and only Genesis Breyer P-Orridge, featured here in the video for “Mount Tamalpais”.
Reminiscent of Psychic TV’s more introspective acid era, the video focuses on a different sort of industrial: the decay of man-made technology, rusted infrastructure, humming and trash-strewn power centers and steel mills with long-cold furnaces. It’s a landscape that summons up melancholia, but also nostalgia for the faded glories of yesterday—particularly since the song’s inspiration comes direct from the master of sleazy yesteryear himself, John Waters. Fans of the immensely vital director may have read the autobiography of Cookie Mueller, actress in (among others) many of Waters’ early films. Therein, she describes the evocation of a demon on the same mountain. Oh, to be young again…
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