Monday, July 6, 2015
Gig #79: Of late 22: Billy Lloyd, Mai Mai Mai, Sauna Youth, S. Araw "Trio" XI, Pure Ground, Chra, Damaged Bug, Ka/Dr. Yen Lo, Author & Punisher, Polar Inertia, Parade Ground, Voices from the Lake, Katie Dey
Billy Lloyd Log In
'"Log In" is about something that I’m obsessed with at the moment: the internet and the way it’s changed our lives. The way we see the world, the way we interact with it, with ourselves. It’s kind of a song about tumblr in a lot of ways. The internet gives us the power to create these digital worlds for ourselves that we can be the tiny gods of. We decide who sees us and what they see, what we see in response. You can be anything here. There’s not really a moral of the song, I honestly think the internet is the greatest thing in the world. I’ve personally used the internet to establish a comfortable-ness with my identity via experimenting with gender presentation in a way that I didn’t feel comfortable doing in real life. As I grow more comfortable looking a certain way in pictures online, it makes me more able to look like that in real life. Also arranging the choral harmonies and writing the puns in the middle 8 was the funnest thing ever.' -- Billy Lloyd
Mai Mai Mai Bassae
'Petra continues Italian noisemaker Mai Mai Mai's inexorable downward spiral into the core of the aural unknown. Following a triptych of records marking out a topography of aural (extra)terrestrial terrain of the dark imagination, the one-sided album continues from 2013's Theta (on Boring Machines) and last year's Delta (Yerevan Tapes). The album starts with the ten minute behemoth 'Bassae', and the slow bleed of bleeping glitches plays out like a crackling radio connection from a space exploration probe back to earth. The transmission is intermittent, marred by extraneous interference, and lends itself an authority of found-sound immediacy and authenticity. This of course makes the slow-dread drone pulse that pounds through after the first minute mark a far more disturbing advancement – we are immediately put into a position of existential trepidation, lent weight from prior knowledge of fetishised sci-fi horror and claustrophobic chest-tightening tension. The concentration of these combative synthetic noises ebbs and flows though, just as if the frequency of the transmission is faltering, before coming into sharp focus, the intensity ratcheted, the rhythms of the pulse and the heart lurching further forward into the chest.' -- The Quietus
Sauna Youth New Fear (live)
'Since the release of their first LP Dreamlands in 2012, Richard Phoenix, Jen Calleja, Lindsay Corstorphine and Christopher Murphy have become, as proclaimed by the group themselves, the “ultimate form” of Sauna Youth. Having developed a distaste with modern life and the “technology age” as we know it, the group return with their second record and a point to make. Distractions is a tense and utterly incensed record, a controlled racket that doesn’t hang around for a second longer than it needs to. ‘Transmitters’ is a bruising combination of rolling percussion and Corstorphine’s stabbing discords, Phoenix and Calleja providing riled statements of vehemence and discontent. ‘Monotony’ rallies a repetitive notion into an antagonistic shot at mundanity, while the electric bass progression that builds into ‘Modern Living’ is stripped bare in its production and is left feeling especially vibrant for it. Each track is an unrelenting blur of angular punk, using creative ability as a tool for delivering suitably vital expression.' -- DIY
S. Araw "Trio" XI Processional
'S. Araw "Trio" XI is a new configuration of the Sun Araw Band, the live-action collaborative branch of Sun Araw. Over the course of several studio dates in Hollywood, California, "Trio" players Cameron Stallones, Alex Gray, and Mitchell Brown (with no prior intentions of doing any such thing) successfully planted a garden of "non-dimensional" objects, not only spontaneously generating these objects but also mastering their nurture and cultivation. And You Can Too! Gazebo Effect is a 2xLP nocturnal stroll into the depths of the garden, its upper lawns and outbuildings. The listener is advised that as the objects have been "set growing" their location at any given time is difficult to predict. The Garden cannot be exited by the path it is entered, the angles involved being extremely precise. These factors (and others) clearly illustrate the value for oneself (and others) in the building of an observational structure: The Gazebo. However, it must be understood that the presence of this structure has a transformative effect on The Garden Itself.' -- Drag City
Pure Ground War in Every House (live)
'Industrial music is harsh, stark, and hateful, and Pure Ground are no exception. The Los Angeles duo has been the personification of austere dirges and grating dins since 2012, with its first album Daylight and Protection being as desolate, ugly, and misanthropic as anything belonging to the genre’s unholy canon. Yet as laudably dank and dismal as their previous cassettes have been, the band has always offered more than superficial aggression and enmity. Take Standard of Living. It’s not just that their second album is blighted by enough coarse synths and barked vocals to create an inhospitable atmosphere, but that they cohere these bleak elements into a rejection of the modern world and its falsity. From the introductory prowling of “Second Skin” through to the strained bursts of “Tides,” G. Holger and J. Short employ an ascetic minimalism that functions as a conscious rejection of the superficial adornments and “advances” of the 21st century.' -- Tiny Mix Tapes
Chra Soca Valley
'Operating out of Vienna, Christina Nemec has many strings to her bow at presents, including membership in recent Blackest Ever Black signings Shampoo Boy and roots in obscure Austrian industrial band Bray. Such associations all make perfect sense when listening to her new album as Chra, which has emerged in Editions Mego. Empty Airports is a fittingly desolate place where submerged rhythmic pulses and distant static flirt with occasional whispers of melody but largely echo out into a vast and very palpable nothingness. It's no mean feat to conjure up such spaces with sound, and Nemec does a wonderful job of it on this release.' -- Juno
Damaged Bug Cough Pills
'John Dwyer has a surprise… While everyone eagerly anticipates the next Oh Sees record, he’s been working tirelessly in his synth laboratory, hand-crafting a followup to last year’s neon-noir Damaged Bug debut—one that shakes up the snow globe considerably. If Hubba Bubba was a brush with a robotic exoskeleton on deep-space patrol, Cold Hot Plumbs visits the alien world that sent it into the cosmos. Lush, textural and psychedelic, the songs breathe with a otherworldly sadness and heart. Barbed, sophisticated arrangements flower in every direction. The vintage-perfect sound palette would be window dressing if not for the songs themselves: fresh, vital, and above all catchier than the flu. Cold Hot Plumbs is a strange, beautiful, and oddly infectious addition to Dwyer’s oeuvre, and not one to be missed.' -- Mid-Heaven
Ka/Dr. Yen Lo Day 3
'Days With Dr. Yen Lo is a work of art that feels fully realized on every level, from the Bigavelian harmonization of each seamlessly stacked Ka ad lib to the mix-mastery of each precisely-pitched Preservation sample. This contrasts notably from Ka’s Grief Pedigree, which, though also best understood and experienced as a complete work, is still one with an exposed skeleton. As Aesop Rock wrote of the sophomore album, “The record sounds like a guy going through old records in his room and piecing together eerie loops to zone out to. You can really hear the process in there as much as you can hear the finished product…” What Days With Dr. Yen Lo may lack in transparency it gains in cohesion and solidity. (This also sets it apart from Night’s Gambit, which though more sonically diverse than Grief Pedigree, feels conceptually loose by comparison.) Here, there are no cracks in Ka’s iron works. His is a well-oiled killing machine.' -- Samuel Diamond
Author & Punisher Shame
'After he wrote The Art of Noise, Italian Futurist Luigi Russolo built his own noise machines in an attempt to realize his vision. He called his creations intonarumori, or ‘noisemakers.’ Each of Russolo’s 27 noisemakers was essentially a variation on the original—a wooden box and amplifying horn equipped with a wheel, which could be rotated with a large handle. The wheel then fucked with a string attached to a drum that worked as an acoustic resonator, producing drones that hum like a 727 engine, and anxiety-inducing grinding similar to the sound of a bike rim rolling across concrete. In a lot of ways, Russolo’s noisemakers can be seen as prototypes for Author & Punisher’s drone machines. The progression of Author & Punisher can be traced by the development of his machines. The Painted Army LP (2005) and Warcry EP (2007), both recorded while Shone was getting his MFA in sculpture, combine plodding electronic percussion and spectral layers of guitars and keys, like Nine Inch Nails channeling Godflesh. But then Shone built the first of his drone machines—a bizarre throttle system that produces bowel loosening sub-bass frequencies. The throttles push back as Shone tries to control them, giving concrete form to ideas about our push-pull relationship with technology. Soon afterward, he also built his sadistic percussion device, the linear actuator.' -- Noisey
Polar Inertia Vertical Ice
'French men-of-mystery Polar Inertia describe themselves as a "blurry techno entity". They're at their shape-shifting best on Kinematic Optics, a double vinyl excursion that contains their first original material since 2012. They set their stall out with the foreboding, cinematic ambience of the title track (built, incidentally, around an extensive spoken word vocal), before delivering an epic chunk of rolling industrial techno ("Floating Away Fire"). There's a mournful, melancholic feel to the deep techno throbber "Vertical Ice", while "Hell Frozen Over" is fittingly dark and murky. The second 12" contains a recording of previous live performance "Can We See Well Enough To Move On?" in its entirety, with droning textures and glacial electronics guaranteeing a spine-chilling mood.' -- Deep'a & Biri
Parade Ground Moans
'Parade Ground first appeared on the Nationale Rockmeeting LP in 1982, striking straight to the heart with the passionate plea “I Shut My Eyes.” Later that year the brothers met Daniel B. and Patrick Codenys of Front 242 beginning a collaborative partnership that continues to present day. In 1983 they released their debut 3-song 7” EP Moan On The Sly on the New Dance label, musically a hybrid of Joy Division and Fad Gadget. 1984 brought further explorations into the world of electronic body music with the 3-song Man In A Trance EP and 2 tracks on the live concert compilation Mask Promotion both records released on Front 242′s Mask Music label. The following year the single Took Advantage/Moral Support 12” was released incorporating then, state-of-the-art modular synthesizers programmed by Daniel B. and back-up vocals from Flo Sullivan (A Formal Sigh, Shiny Two Shiny). Then in 1987 the brothers collaborated with Colin Newman of British post-punk band Wire, who produced and lent his vocals, guitars and keyboards to two songs (“Moans“/”Action Replay”) while Daniel B. produced flipside “Gold Rush” on the Dual Perspective EP that stands alongside 80s anthems from Tears for Fears, Modern English, Echo & The Bunnymen. Finally in 1988 their debut album Cut Up was released on Play It Again Sam Records and featured the singles Strange World and Hollywood.' -- Dark Entries
Voices From The Lake Scintille
'Sometimes soft echoes of sirenic voices are heard – the only remnants of human traces in these spaces that have suspended time, where smooth silky textures are being channeled into fractal structures that induce a state of transcendence. The haptic quality of their sound is adding up to a sonic matrix of metaphysic imaginary that is provoked by gentle glides and dynamic beat patterns of almost tribalistic quality. Dunked in a bath of dark fluid, sometimes washed away at the shores of Kosmische – VFTL's tunes are not scared to seduce us into a condition of haziness, culminating in a cover of Paolo Conte’s ‚Max’ which is turned into a dazzling sample of sweet, dreamy melancholia. With this release Voices From The Lake succeed again in strengthening their position as one of todays most refined ambient techno producers.' -- Editions Mego
Katie Dey Unkillable
'The title of Katie Dey’s new album seems to mean so little, but actually says quite a lot. Trying to decipher the Melbourne artist’s record title recalls the modern way of dealing with frustration by frantically or listlessly slamming your fingers down on a keyboard just to see something, anything, happen on the screen. The whole thing first feels random, but the gaggle of text on the screen always seems to look something like it did the last time; all the letters seem to fit together in a way that’s hard to explain. Dey remains an elusive figure, at least in terms of her presence on the internet; no Facebook page, 185 tweets, and a what seems to be a very full ask box on Tumblr. The 20-minute album works within a framework that’s both sequenced and arbitrary. With no two songs that sound alike, asdfasdf manages to seamlessly transition between ideas making it 20 minutes of impossibly palpable bliss.' -- Impose
p.s. Hey. ** Chilly Jay Chill, Howdy, Jeff. Glad you liked the photos. It's been a bit since I read 'Practicalities', but I remember liking it quite a bit, yes. Let me know how you find it.
Oh, I'll email or FB you my address. Thanks! I'd like to read her book, for sure. My back is much improved and nearly all better, thanks, and I'll get an update on the ventriloquist's health today. Fingers very crossed. ** David Ehrenstein, Would make sense. Thanks a lot for the link to the Robert Frank and young collaborator thing! I'll indulge today. ** Tosh Berman, Hi, Tosh. Google spellcheck just corrected your name to Tosh Bermuda. Back problems suck, for sure. I've had a lifetime to come to peace with mine, but I haven't. It's doing better today, thank you. The high heat was surreal. Paris is famous-ish for its super mild summers, so getting upper 90s temps created a national crisis. It's cooler-ish today so far. I greatly look forward to your Detroit writings, sir. Oh, there was one yesterday? I'll check back. ** Steevee, How are your eyes as of today? No, it's very rare that even very wealthy Parisians have air-conditioning in their homes and/or apartments. You just have to hope your place has cross-ventilation, and luckily mine does, That helped a little. I have a friend who is, or, at least, was into Amara Touré. She played me some at some point. It seemed very impressive. Huh. I'll revisit. Thank you, sir. ** Bill, Hi. I'm pretty certain that the Hamburg shows are still a go, but I'll have a phone meeting with Gisele today to find out for sure. Yes, 'stomach speaking', weird, right? The ventriloquists we're working with say that's right, and that it's all about their stomachs. Strange. Who played at the festival? Punk bands from the past? Any names? I hope it was fun. ** _Black_Acrylic, Hi, Ben. Oh, that's interesting., When I was putting together the Odermatt post, I kept seeing references to that book. It looks kind of amazing. I'll see if it's in the art/photography book stores here. Thanks! ** Sypha, Welcome back! It sounds to have been an eventful, chock-full vacation. Funny how little nature itself was in your report. I can relate to that. Mini-golf! I miss it. There are about five mini-golf courses in all of France, and at least four of them are boring, flat-as-pancake courses. There's one in Paris that's all white and kind of weird looking that I keep meaning to try out. ** H, Hi. Glad you liked it! Oh, thank you about the posts. That's super interesting and very kind too. Huh. I haven't read Thoreau since I was assigned Thoreau in high school, which is really pretty weird and neglectful of me. I've never even heard of 'The Illustrated'. What a nice title. I'll look into it. Thanks a lot! ** Postitbreakup, Hi, Josh. Good guess, man, because I did indeed find the first part pretty cool, and quite possibly even for the reason you suggest. I'm feeling better. How are you, my man? ** Kyler, Happy for you that the hot dog stand scooched the banjo band out of sight. And even out of sound? ** Kier, Hi, Tinkierbell! I think the ventriloquist will be okay. I think it was a mild one, but I'll find out where he and his heart are at today. My back steadily improves, and I'm post-pain killers now and only a little creaky. I think I've heard of Frida Hansen. I can't remember the stuff itself though. The 'Terminator' film seems to be getting so trashed. I want to see it, but I think I'll wait for an overseas plane situation. I still haven't even seen 'Jurassic'. Very cool about the hanging with the hickey-gifting person today. Was it fun for the obvious or not so obvious reason? My weekend was pretty blah due to back protection measures. It was horribly hot on Saturday. Like French hell, ugh, but then yesterday the temp swooped down into almost okay, and, thus far, today seems like yesterday's twin. I didn't see art 'cos it was too hot on Saturday to even think about using the metro, and yesterday got away from me. But Z. and I might hit Palais de Tokyo today. There's some installation there where they turned part of the museum into a river, and they give you a row boat, and you row yourself down the river while holographic beings do something to you. That sounds like a must. I mostly just hung out at home all weekend, sweated, and worked on stuff. It was fine-ish. I'll try to perk my day up today, and how was yours, maestro? ** Thomas Moronic, Hi, T. Such a great response to the photos. You should really patent your intelligence and imagination, if you haven't already. How are you? What's the most exciting thing that is currently destined to happen for/with you within the next foreseeable days? ** If I'm not mistaken, we're done for the day. I made a gig of some music I've been into recently. You are more than welcome to visit it and take away anything that catches your ear into your own current arsenal of listening items. See you tomorrow.
Posted by Dennis Cooper at 7:33 AM
Saturday, July 4, 2015
'Once upon a time, there was a Swiss policeman named Arnold Odermatt, whose photographs long went unnoticed, but who then achieved international recognition when the photographer himself was past retirement age. Born into a family of eleven children in the canton of Nidwalden in 1925 – his father was a forester – Arnold Odermatt initially apprenticed as a baker and pastry cook. He was forced to leave that profession, however, because of an allergy, and by chance he ended up joining the cantonal police, where he spent the next forty years. He was responsible in particular for road safety in this little canton isolated in the middle of Switzerland, hemmed in by the Alps and Lake Lucerne.
'At the age of ten, Arnold Odermatt won a camera in a competition and taught himself how to use it, which grew into what can only be called a passion for photography. He took his twin-lens Rolleiflex with him wherever he went, photographing the people and landscapes of the region and later his wife and children. He also incorporated photography into his day-to-day work, using it to document traffic accidents, which were quite common at the time.
'However, Odermatt’s hobby was met with indifference by those around him, and for fifty years he captured tens of thousands of images which, carefully stored and organized, languished in his attic, until one day in the early 1990s, his son, Urs Odermatt, himself a director and filmmaker, came upon them. The retired policeman’s photographs were published in a book edited by his son, and recognition for the work grew steadily. Exhibited in 1998 at police headquarters in Frankfurt am Main during the Frankfurt Book Fair, the black and white images of vehicles damaged in accidents caught the attention of the celebrated curator Harald Szeemann, who showed them at the Venice Biennale in 2001. From that point on, the Swiss policeman’s photographs were internationally acclaimed. Three books were published by Steidl, one of the most prominent publishers in the photography world, and his images were exhibited by numerous museums and galleries in Europe and the United States.
'All of the prerequisites were in place for the creation of an ‘Odermatt legend’ that would be especially attractive to the contemporary art world. Like Eugène Atget, Jacques-Henri Lartigue, and Miroslav Tichý, Odermatt belongs to that special category of ‘outsiders’ discovered late in life, cut off from the art world and unconcerned with concepts or declarations of intent. As a figure of ‘artistic innocence,’ he compels us to question the shifting boundaries between art and non-art, between art and art brut or ‘outsider art.’ Arnold Odermatt’s work is difficult to categorize because it seems to include both applied professional photography when he is ‘on duty’ as well as amateur photography when he is ‘off duty.’ What is certain is that the power and originality of his images, in contrast with his complete absence of formal artistic training and his long isolation, problematize what may be called ‘artistic intention’ and its role in the quality of the images produced. Is a self-taught photographer with no formal training who has never called his images ‘art’ therefore devoid of Kunstwollen? Because it is so difficult to make assumptions about intentions that are not expressed as a conceptualized and verbalized desire to ‘make art,’ I will consider the unrecognized character of Arnold Odermatt’s practice, but will do so without using terms like ‘naïve’ or ‘outsider,’ which are too fraught with connotations and too reductive. In what follows, I will suggest that these belatedly recognized artists be referred to as unsanctioned artists (artistes non-homologués). This term is an indirect reference to one of Dubuffet’s earliest essays on art brut; it makes it possible to group together the various ‘irregular’6 practices by virtue of their contrast with official art world channels, without, however, stigmatizing them by setting up a dualism in which art is opposed to non-art. The term ‘sanction’ signals official recognition, but does it alter the nature of what it consecrates?
'The contrast between images that satisfy the art world’s expectations in terms of their quality and a photographer who stubbornly refused to seek any kind of critical recognition for his work seems to endow Odermatt’s practice with an obvious appeal as something ‘instinctive’ and ‘authentic.’' -- Caroline Recher
Arnold Odermatt Website
AO @ Galerie Springer
'Arnold Odermatt – Beyond the Seven Mountains'
AO reviewed @ Frieze
Arnold Odermatt - Die Ästhetik der Karambolage
Arnold Odermatt - Rasthaus
Arnold Odermatt und John Waters - Fotomuseum Winterthur
Trailer: 'Crash Course: The Accidental Art of Arnold Odermatt'
'Arnold Odermatt the Nidwalden Police in 1948. He was forced to give up his original career as a bakery and pastry chef on health grounds. As the policeman Arnold Odermatt first appeared with his Rolleiflex at the scene of an accident – to provide photos to complement the police report, people found this rather disconcerting. At that time, photography was anything other than an independent means of providing the police with evidence.
'A colleague observed Arnold Odermatt as he took pictures for the force and was suspicious. He was ordered to report to his commander immediately. Odermatt managed to convince his superiors of the pioneering work he was doing. They allowed him to convert an old toilet in an observation post in Stans into a makeshift dark room. When the observation post was moved into another building several years later, Switzerland’s first police photographer was given his own laboratory.
'Arnold Odermatt's biggest role model was the famous Magnum photographer Werner Bischof. He met him once by chance, as he was on security duty on the Bürgenstock and wanted to photograph Charlie Chaplin. Odermatt's own style was characterised by sobriety and authenticity. The spartan linguistic expression of his police reports can also be found in Odermatt’s images. His craftsmanship is beyond question, nothing of note is missed by his photographic eye. In KARAMBOLAGE, his most famous series of work, you can’t see the maimed victims but you do see the ethereal, surreal sculptures of scrap metal. With the softness and melancholy of Jacques Tati, he looks at the consequences of speed and the hectic nature of modern times.
'For 40 years, Arnold Odermatt captured the daily work of the Nidwalden police force. It was only rarely that the local press, the court or an insurance company were interested in his photos. It was only when his son, the film and theatre director Urs Odermatt, showed the photos in for the first time at a solo exhibition in Frankfurt am Main that the art scene first became interested in his work. After the inspiring exhibition, the photo book Meine Welt followed. Suddenly the everyday observations from the central Swiss province had gained the same status as those of his well-travelled predecessor, Werner Bischof.
'At an early stage in his police career, when Arnold used the camera to catalogue traffic accidents, this was a revolutionary innovation in the Swiss police. If Arnold Odermatt were to turn up at a crime scene with his camera today, he could expect to be told that photography was not for him, but was instead the job of a specially trained police photographer.' -- collaged
p.s. Hey. Warning: Back pain inside and a billion muggy degrees outside. ** James, Hi. Yeah, my back has been my Achilles heel since I was a kid, and it's rebelling right now like it occasionally likes to do. Thanks much for the love and healing stuff! Love, me. ** David Ehrenstein, Yes, in fact I had a link to your excellent Duras piece in the post. I'll pass long your AFA urging for those who might be there. Everyone, Mr. Ehrenstein has a high recommendation for those of you in or near NYC. Here he is: 'This July and August Anthology Film Archives is featuring a series of screening entitled "One Film Wonders." Needless to say The Night of the Hunter will be shown (August 13, 16th and 18th) but also such rare gems as Nothing Lasts Forever -- which I featured on a "Petit Mac Mahon" awhile back but has since been pulled from You Tube. Then there's Isidore Isou's lettrist classic Venom and Eternity (July 17 and 22) Gavin Lambert's very Paul Bowles-like Another Sky (July 16 and 19), Wynn Chamberlain's Brand X with Taylor Mead (July 17 and 23). Wynn gave me a tab of Owsley's once -- the best/worst acid trip I ever had. Kenneth MacPherson's Borderline with Paul Robeson and H.D. (July 18 and 20) and last but not least Timothy Carey's The World's Greatest Sinner July 18 ad 23rd. Be there or be square.' ** Steevee, Hi. Yeah, the pain killers help somewhat, but I hate pain killers, so I'm taking them only when it becomes unbearable or if I have to go out into the world and do stuff. I'm using leftovers that I got in Iceland the last time my back turned asshole-ish. But you can buy a form of codeine over the counter here in Paris, believe it or not. Well, I hope your doctor's powers of prediction were spot on. How are you doing? ** Kier, Hey, bud. Yeah, my back does this to me once in a while. I grew really fast when I was 10 years old, and my spinal cord is too separated, and that cursed me lifelong with a crappy back, bleah. Oh, no, you're still fucked up too? Do take it easy. I'm trying to myself, but I'm an energetic guy, so it's hard to be mellow. England was a lot of fun except for the heat, but it didn't ruin anything. Maybe Silje was playing hide and seek with you? Nice about the loft! And kind of nice too about the hickeys, no? Mostly, I mean? Northern Norway sounds so dreamy, in general but especially whilst stuck in this gross Paris heatwave. Fingers very crossed about Denmark! Wow, your not feeling good aside, that was a pretty sweet report! Cool! Me? Uh, yesterday was weird for the back-related issue and also because one of the stars of Gisele's and my new piece 'The Ventriloquists Convention' had a heart attack. He's okay, but we had to cancel the premiere next week. He and the doctors think he'll be ready to work again by the next dates in Hamburg. But that was intense. He's one of the very main people in the piece, and, because of the way the piece was created, which was through improvising with the cast to create the dialogue and etc., we can't replace him. So, that was a crisis, and kind of still is. Other than that, I didn't do a ton for pain-and-impairment-related reasons. And extreme heat reasons. I'm hoping to get out and maybe see some art today, if my medication's help is forthcoming. Have a weekend full of vastly improved physical feeling, and tell me what was what please! Love, me. ** _Black_Acrylic, Hi, Ben. It's a wonderful novel, and it's also really short. Thanks for the psychics hugs. Hopefully, I'll be approaching right as rain status by Monday. Sorry about your concurrent heatwave. That show looks interesting. Diggerland was a ton of fun. What a strange place. It was incredibly hot, but, on the plus side, that kept the attendance way down. There was a period of a couple of hours when we were literally the only people in the amusement park. Alton Towers turned out to be 3 1/2 hours by train from London, which was way, way too far for our brief visit. Next time. ** Rewritedept, Hi, man. Things are good, just fucked by my physical issues at the moment and the theater piece mess I mentioned to Kier, etc. London plus Kiddiepunk was a lot of fun. Very cool that 'Hey Ma ...' is reaching its conclusion and birth! Oh, yeah, shit, my address. I'll remember to send it. Uh, the drawing ... I liked it. Poems? No, I haven't read them. I will as soon as I have the cognizance to do so respectfully. ** Thomas Moronic, Thanks, T. Cool, cool, I'm with you, obviously, on the Duras. Have a splendid weekend, please, and may we both get some cooling down relief. ** Postitbreakup, Hi, Josh. No, I didn't hear about that playthrough video, but I've naturally been very, very curious about what that game would have been. Thank you a lot! I'll spread the boon. Everyone, fine d.l. Postitbreakup passes along a very cool thing if you like. Here he is to explain and offer a link: 'hey, you've probably already heard about this, but this is a really good playthrough video without annoying commentary of the tragically canceled before release PS4 silent hill game that guillermo del toro was going to do. it's not quite like other silent hill games (it was a demo called P.T. for "player test"; it's unknown how much the final game would have been like the other silent hill games vs this demo) but it's really cool and gives that silent hill feeling but is also even more than the other games just like watching a 1st-person horror movie.' Thank for the well wishes! Love, me. ** Kyler, Hi, K. Thank you. Oh, that dreaded banjo band is still on the prowl. So sorry. RS is moving to New Orleans? Hm. Well, why not, I guess. A little delayed is too bad, but hopefully little is the operative word, and I'm sorry about that too. Have a good weekend. ** Armando, Hi, man. Yeah, I have written that way even since 'SAFE', although the 'My Mark' part was written first and the rest of 'SAFE' was written later, so the structure there was devised based on 'My Mark' already existing. Well, for 'MLT', I devised a structure that was more hidden inside the novel than my structures usually are. It's the only one of my novels that I wrote from start to finish. That was part of the structure/experiment, to let the 'story' unfold and create itself in a normal narrative way. I had a ton of plans and schemes and stuff, too many to remember off the top of my head. Like ... I wanted it to be a cross between a documentary and a Terrence Malick film. I thought those two things, which would never work together, made for an interesting challenge. But, yeah, I had a shitload of pre-exisiting rules and plans that I was working with. No, my injury isn't serious. It happens to me every once in a while. I just have to take it easy-ish and bear with pain for a bit, and then it will go away. Best wishes to you too! ** H, Thank you. Uh, ha ha, that's perfectly okay about missing saying Happy Father's Day, ha ha. What a strange idea and an interesting dream. ** Right. I like Odermatt's police car wreck photos a lot, and I thought I would place them before you so that you could see what you think. See you on Monday.
Posted by Dennis Cooper at 7:37 AM