Lep pozdrav! Nocoj boste lahko slišali švedske crusterje Kontrovers z novim CD-jem, Fear is the path to the dark side z malo manj novo plato, a kljub temu vredno posluha; nadalje si bomo pogeldali delovanje avstralske založbe DUAL PLOVER ter poslušali THE POO TOUCHERS, avstralsko SABRINO, JUSTICE YELDHAM AND THE DYNAMIC RIBBON DEVICE in DJ SMALLCOCK. Na koncu še koncertne napovedi z DEBJELI PRECEDNIK ter CGB.
Oddajo bomo začeli z KONTROVERS, ki so pred dvema mesecema izdali novo plato, ki je nakekšno nadaljevanje prejšnje. Pričakujte hiter crust švedski crust, z dvema divjima vokaloma. Sledili jim bodo nemci Fear is the path to the dark side s po mojem mnenju eno boljših metalcore izdaj prejšnjega leta. Več o obeh bendih si lahko izveste na spletnih straneh:
http://fly.to/kontrovers
http://www.scorchedearthpolicy.de/
DUAL PLOVER je l. 1996 ustanovil v avstralskem Sydneyu živeči Lucas Abela. V izdajah lahko najdemo veliko predstavnikov za nas ekstravagantne avstralske noise scene z imeni, kot so A KOMBI, PEELED HEARTS, FUNKY TERRORIST, SUICIDAL RAP ORGY, itn. Brez znanih imen, kot so MERZBOW, NOISE RAMONES, SHIMPFLUCH GRUPPE, SWEDEN, pa tako in tako ne gre.
Do sedaj pa je bilo izdanih preko18 izdaj, od tega večinoma digitalni nosilci zvoka.ter nekaj EP-jev.
Več o založbi DUAL PLOVER is lahko pogledate na internetni strani www.dualplover.com .
Nastop Lucasa Abele, ki bo nastopil pod umetniškim imenom JUSTICE YELDHAM AND THE DYNAMIC RIBBON DEVICE lahko pričakujemo 19. Januarja ob 22-i uri v klubu Gromka na Metelkovi.
Za več informacij o njem in njegovem delovanju pa si lahko preberete kar intervju ter prečekirate njegovo internetno stran, ki je zapisana nekje v intervjuju.
1.What are the roots, influences of your sound-activity (due to label and starting doing things on your own)?
My curiosity, along with NON was an early influence, I read about ‘pagan music’ a 7” Boyd Rice released that had more than one hole in it so you could play the record off centre. This was the 80’s I was 16 or so and living in Surfers Paradise, Australia (tourist beach town south of Brisbane) and had no chance of buying this record. So instead I just drilled holes into other records and then cut records in half and flipped one side over and so an and so forth. At the time I didn’t think much of what I was doing, (enough for Christian Marclay or Janek Shaffer to base a career on) in my mind I wasn’t making music I was listening to NON.
I didn’t start redoing these kinds of things until years later when I moved to Sydney (92) and found myself with a graveyard radio shift. With 6 hours every week to fill and a limited record collection I quickly started doing the record cutups again.
2.Under which names you played and recorded sounds so far?
Peeled Hearts Paste, DJ Smallcock, Black And Budget Minded, The Honourable Tinkle Tinkle and Justice Yeldham And The Dynamic Ribbon Device amongst others.
3.Which & how many releases did you have published so far?
Of my stuff! A Kombi - Music To Drive-By (1996), Peeled Hearts Paste - Plover brand (1997) and DJ Smallcock - Yinyue (2000) all sold out. Of these three only Peeled Hearts Paste represents my live performance work. The other two are recordings of my van (a kombi) and tape manipulation (smallcock), I’ve always felt strange about releasing my live works on cd as somehow they weren’t complete. To enjoy my music properly you need to be in the room with me, so I’ve decided to never release my live music ever again, people must come to my shows to hear my music as I’m an entertainer not a recording artists.
As I want nothing to do with the documentation of my music and I need these kind of thing to attract further performance dates, I would like it if people who take photos, record or video my performances to send net friendly versions for me to publish online. I use these as teasers in order to help attract gigs and more importantly an audience along the way. I can be as stubborn as possible about not officially releasing my music but I know especially when it comes to promoters, festivals etc people want to see some kind of evidence before they will even consider giving you gigs, so I’ll publish whatever comes my way at the www.dualplover.com/justice.htm site to help attract future shows.
4.Is your live performance any different than home rehearsals?
I don’t rehearse, so my performances are my rehearsals, I only like to make music in front of people. In Australia I don’t get to play so much so I never really rehearsed, because of this world tour I’m getting to practise now almost every night, much to the benefit of my music.
5.What kind of things you use for your recordings and for performance?
I’ve used all manner of things to make noise, after using turntables and broken records as described above I started modifying and building my own decks. Multiple tone arms loop machines that could be clipped on. A glove with magnetic carts and styli on the end of each finger. After a while I started doing away with the decks and started using high-powered motors instead with not just records but saw blades grinding stones drum cymbals or anything disc like attached. Because of this I had to design new more sturdy styli using skewers, knifes and even swords. When I first toured Japan (97) I couldn’t use the motors so I started jamming my styli bars in my mouth which slowly led me towards playing sheets of glass with my face which is what my show consists of today.
6.Where did you play live so far?
Over the last ten years! Or just this world tour? So far the tour has taken me to. Los Angeles, Santa Ana, Santa Cruz, San Francisco, Oakland, Arcata, Portland, Olympia, Seattle, Miami, Tampa, Nashville, Bloomington, Chicago, Madison, Minneapolis, Ann Arbour, Rochester, Northampton, Boston, Providence, Manhattan, Brooklyn, Bristol, Amsterdam.
7.Worst/best show?
BEST, Portland, the audience all sat down in the bar area of the venue leaving the performance area empty, this made me so angry so I set up my performance gear near the bar, they had no idea what was coming and I simply tore there heads off. When the glass broke at the end it was the best I ever heard it.
WORST Los Angeles. My third show in America was a disaster, the venue wasn’t told I was on the bill so after I set up the next band asked me to leave so they could set up, I tried to explain I was booked but some miscommunication had taken place they weren’t cool about it, so I dragged my stuff offstage. Then the sound mixer who had talked to somebody about what I do insisted I set-up again and play, still flustered I did so, unfortunately the mic I use to amplify the glass started to malfunction (damaged it the night before in Santa Anna but didn’t know yet) leaving me silent on stage with my face covered in lube, which was very embarrassing after all that had happened.
8.Tell me more about your current tour in the USA, Europe and Japan.
I want to play as many shows as possible anywhere everywhere, I’m currently playing the best shows of my life and I don’t want to stop ever. It’s so refreshing to play for new people every night people without any expectations about what I do. I want to make this tour a permanent one and am already planning the next legs.
9.Is it difficult to be a »noise/experimental« artist in Australia?
No if you’re so inclined it's not difficult to make experimental music in Australia. It’s difficult however if you want take your music elsewhere when your stranded in a musical ghetto like Sydney. People don’t realise how hard it is where I’m from. For starters there are only 3 decent sized cities to play in and each one is a 12-hour drive apart! so touring potential is limited. For this reason people in Melbourne probably known more about what’s happening in Europe than Sydney and vice versa. Then if you want to perform outside of Australia you’ve gotta be rich or well versed in bullshit. Luckily enough for me I managed enough bullshit with the Australia council to make this tour possible, they gave me A$2000 to travel to LA to play the turnament festival. I put up an extra $1000 and bought a round world ticket. When Americans or Europeans want to tour they can simply at home or cross the Atlantic for a mere $US500 if not less, and people here ask me why / how I can spend so long away from home?
10.You started your own label DUAL PLOVER in 1995 - what made you started a label like this?
Dualplover was born of necessity, at the time (mid 90's) there where no Sydney based labels doing the kind of things I was interested in, come to think of it there still is no other labels in Australia doing things I’m interested in, except to a certain degree system corrupt, bloody fist, dr Jim and spasticated.
11.Can you write more about your compilation CD series -The Rebirth Of A Fool-?
The rebirth of fool is obviously a parody on the rebirth of cool series, basically designed to showcase idiocy in music. We’ve only done two volumes so far but we are constantly seeking submissions for the series I will release the third when I have enough infantile music to fill 80 minutes, I’m in no rush it’ll come out whenever I’m ready. I also plan for volume 4 a DVD that I’m also seeking odd video for.
12.Do you know anything about slovenian -independent- (experimental/noise) music scene?
I'm sorry but no, I haven't heard anything.
13.Any messages for slovenian listeners?
Please come and see my show.
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