N O P A R T O F I T

N O   P A R T   O F   I T
Far more important than baking bread is the urge to take dough -beating to the extreme - Otto Muehl

Thursday, May 28, 2020

May 2020 Update



BLOOD RHYTHMS' CIVIL WAR was reviewed at Side-Line Magazine!

Here is an excerpt:
"+ + + : What I first noticed is the outstanding, artistic work of this vinyl. It reflects the disturbing sensation of the music by the illustrations. And I here especially recommend the booklet where Arvo Zylo collaborated with a great artist (even featuring a taxidermist). Sound-wise this is the kind of production appealing to lovers of extreme sonic sensation. It’s minimal and often on the edge of being too extreme. It somewhere remains accessible. I personally prefer the tracks from the B-side, which have something more ‘industrial’-like. “The Face” appears to me as the ultimate cut featuring  commanding vocals and noticeable sound effects...
...Conclusion: This is a brain-damaging sonic experiment illustrated by brilliant artwork!"



BLOOD RHYTHMS' HEURISTICS is available for the first time on cassette via Personal Archives.  There is an edition of 31 standard versions and 13 special edition versions.  The special edition comes in a clamshell case with inserts printed on silver paper, and an embossed, printed label on metallic/platinum silver cassettes.  The standard edition comes on those same metallic/silver cassettes, but handstamped instead, and comes with a double-sided pro-printed j-card, inside white-backed norelco cases.


Here are the extended liner notes:
One day it dawned on me that tons of material over the last 15 years had sort of grown an organic cohesiveness to it that is suitable to be looked at together, both backward and forward. In 2004, I had a dream about a child going through what could be said of a certain toad; that if you put a toad in a pot of water and slowly boil it, this toad would adapt and survive. If you put a toad in an already boiling pot of water, it would die immediately. In my dream, I saw a child suddenly being immersed in a similar fluid, causing him to grow up immediately. When he did grow up so abruptly, the result was a person with writing all over his body and black tar coming out of his mouth. I made this photo shoot happen with my friend and photographer, Iris B., and I never knew what I was going to do with it. At one point, I thought it would be an exhibition of photography. Eventually, though, it dawned on me to de-saturate and sort of purify the images and use it to frame this material.

This material, ranging from 2000-2015, represents a lot of things I sort of hoped would be on 7 inches or prestigious compilations, or they were criminally under-released, perhaps prematurely. For instance, I went to a piano class at a local community college to learn just one song; "Viper's Drag" by Fats Waller. My final exam was to be able to get through the first page of written music, and I did it, like a gallivanting jalopy and a horse-drawn carriage of maddening, youthful frustration. My version, "Maggot's Drag (Notte Del Casu Marzu)" tells a short horror story of flying killer maggots. It was meant for a "monster music" compilation I was curating, that was more or less sabotaged by a cover artist whom I paid in advance, who didn't deliver for over two years. I did get my money back after a fair amount of doin', but the steam I did not.

Also in the picture, is the audio for a performance I did with Right-Eye Rita on 06/06/2006, at a party I curated with Betty DeVoe. It was a ritual performance called "The Stifling Air", supposedly based on some works by Jacques De Molay, Grandmaster of the Knights Templar in the 13th Century. It included a custom-made coffin a nude model, and a king (played by Right Eye Rita “in drag). I always felt it needed to reside somewhere, but only now did it make sense to put it somewhere. I could have produced the piece yesterday.

Some of my early performances exhibited a variant amount of sound structures, with me screaming the words "Remove All Doubt" over it until I felt like my vocal chords stopped working. Featured here is one such piece, one of the more musical variations.

There is also a track, "Mention This", featuring the vocals of performance/dance artist Atalee Judy. She'd given me a cassette of a'capella recordings, and I was inspired for weeks to create music to them. In this case, prior to knowing anything really about experimental music, I made music that is still bizarre, even to me now. Screeching synth-cellos and heavily effected broken glass, sampler percussion, among many other things, provided a back-drop for Judy's incredible voice. I once played this track to a man who did sound engineering for radio plays, and he said I'd achieved sounds and dynamic stereo ranges that he wouldn't understand how to do. Maybe he was just being nice.

Another track features NV13, where he and I did another piece for a Halloween compilation, with piano, organ, and lots of samples from horror movies. Yet another track from 2000 was made by me with harmonica, bass guitar, sampler, vocals, and masochistic microphone abuse. Again, I had no idea about experimental music at the time. I could go on and on. There is a story to every piece, and it is a diverse listen for sure. It is 69 minutes in duration, and I humbly suggest you give it a try.

***

Earlier work by Thirteen Hurts is becoming available to subscribers, and will eventually be reissued in physical format. 
 THIRTEEN HURTS is the chosen project name of one rather elusive character who calls himself One-Eyed Zatoichi. Active for many years, and having released the well-received "UVB-76" on NO PART OF IT label before, we were given permission to release the two prior full-lengths under the THIRTEEN HURTS moniker. Enthralling, almost soundtracky, heavy electronics with no noise swashes or synthesizers to speak of, subscribers will no doubt enjoy the very unique and compelling work here, which was released in digipak CD format with almost no promotion. To see about acquiring a copy, feel free to contact the artist directly :
oneeyedzatoichi@gmail.com



The long awaited Tribute to Star Trekkin' Rock N' Roll Cowboy Ralph Gean is available now.  Arvo contributed a cover of "Hey Doctor Casey" which was recorded in 2013.   Special editions come with a tiger-print bandana, buttons, stickers, patches, etc.  


Arvo's Sequencer Works Volume Two was shared by new youtube channel "Noise Lyfe".  



An unreleased track by Arvo was aired on Signal To Noise, a new podcast/regular mix series hosted by Nick Roseblade. Roseblade has written for The Quietus, Clash, DIY, Drowned in Sound, Ran$om Note, Gigwise, God is in the TV Zine and The Metro.



333REDUX (the abridged version) was reviewed by Abacus at KFJC.  Thanks!

abridged CDr sampler of a massive DVDr data disc release remixing rehashing reconstructing Arvo Zylo’s seminal 333 release. trip mental industrial of the chaotic crunchy variety, plodding soundscrapes of rhythm and noise, concrete crushing beats cracked around the edges. some of the tracks get in to more cut-up, concrete, or ambient even, spiced up with some jazz skronk? this comps got it all, true QUALITY noise stuff compiled by the connoisseur himself. released here on Arvo’s own No Part of It label; if you get a chance, dig up the bandcamp to sample the full release, especially for the complete 35minute Blood Rhythms piece. and if you’re not afraid of long tracks for that matter dig up 333 from our very own library here and maybe do some side by side. the beautiful thing about good comps is I honestly believe there’s something everyone can get down on here, this is the kinda noise that converts folks.

Arvo has participated in a number of compilations during isolation. 


   This one features Chris Phinney (Mental Anguish), GX Jupitter-Larsen, Das Synthetische Mischgewebe, FâLX çèrêbRi,
Mystified, M. Nomized, and more.



Arvo contributed to a compilation on Harsh Reality Music, also featuring Attrition, Konstruktivists, Al Margolis, Howard Stelzer, PBK, Minoy, Little Fyodor, and GX Jupitter-Larsen.


Arvo contributed to a compilation on Forever Escaping Boredom also featuring jliat, novasak, Hal McGee, Rubbish, Mental Anguish, and Otolathe. 


Arvo contributed a track to a Noise Pals compilation here, also featuring Luer, Hari Hardman, Girls on Fire, Dan of Earth, Jim Benbow, and more.  





Arvo contributed a track to "Collected Aural Detriments vol. 23".




If you haven't seen it yet, feel free to drop by and read the new interviews with Jacob DeRaadt and dave phillips

Wednesday, May 13, 2020

Interview Series #15: Jacob DeRaadt



 
 
Scheduled in March, 2019
 
I'm pretty sure I met Jacob in 2010, at Denver Noise Fest, although I am pretty sure he didn't perform then, and rarely did until around five years later.  There he gave me one of his tapes from his main project, Sterile Garden.  It's hard to describe it, especially knowing how widely varied it can be, and frankly, how much of the discography I haven't heard yet.  What I have heard is deeply rooted in industrial noise; wind-licked tape screech, basement drones, grinding piles of near-dead loops, cut-up field recordings crumpled up and set on fire, and so forth.   DeRaadt is also a visual artist and his cover art often is a perfect reflection of this sound via what I can only assume is manual xerox collage, screen printing, elaborate cut-outs/stencils, and various ink experiments. 




  1.  What types of things have you been getting into lately?

1. Paper cuts, beet juice drawings, synthesizer layering, tape editing, field recording, singing in bands again.

2.  What you do, do you do it as an artist, or is it a hobby?  
2.i feel like I'm an artist but it doesn't pay the bills.


3.  How would you describe what you do?
3. Electronic music and folk art

 4.  How would you describe your creative progression over the years, in a brief synopsis?

4. AS AN ARTIST, I feel like i've stayed with most of the concepts that inspired sterile garden, but the tools, equipment and editing methods have changed a bit.  Things have to as you change locations, develop certain fascinations with acoustic locations in the surrounding areas, and discover flaws in the equipment to be exploited.  I started out with reel to reels, a contact mic-ed traffic sign that i scraped with a metal tray, and some shitty handheld tape recorders.  I've moved towards getting crisper field recordings using a Zoom.  I still enjoy close mic-ing acoustic sounds for certain blown out frequencies using mini cassettes and four track recorders.  A consistent theme of object manipulations, fascination in the properties of magnetic tape, and convoluted editing techniques persists throughout the 13 years of this project.


5.  How would you describe your philosophy?
5. 
 Let people know the feeling and atmosphere of project, my personal philosophy is no matter of importance.  I want people to invent their own scenarios for the sounds and only give loose suggestions of ideas that influence each composition.  Psycho-geography as sound?

6.  Do you believe in psychics, magic, ghosts, or gods?

6. yes

7.  What would you say was your most definitive experience?

7. losing my father


8.  Do you have any side projects that I am not aware of? If not, what is something you'd like people to know about you, that you don't think anyone would ever ask?

8. side projects include:  Thomas Kinkaid Youth Brigade(performance art project), Abbreviated Glossalia(vocal/human body gurp), and I'm in a couple of punk bands(Policy and Rich People Sex Party) and a synth pop project, Le Modele Vie.


9.  Would you care to name any theoretical "desert island" records, or at least releases that you think are approaching your concept of "perfect"?  

9.   Can's Tago Mago,

10.  What is the earliest childhood memory you can (or are willing to) recall?   

10.  running into a closet while hearing my mom scream giving birth to my sister when i was four years old at our house in Alaska.


11.  Are you able to appreciate other peoples' creative work regardless of their personal shortcomings or inherent flaws?  To what extent?  

11.  yes.  no limits to that really.

12.  Do you have any heroes or heroines?  Who are they?  Feel free to add anything that makes them stand out.  
12.  Ray Johnson.

13.  What would you like to have on your epitaph?  Or what is your favorite quote?  

13.  I just want to have my ashes scattered in a forest in Alaska... no trace left to a wandering shadow...

Monday, April 13, 2020

Interview Series #14: dave phillips


Scheduled in March 2019
I wonder how many people will read this having not heard of dave phillips.  I started this series of "interviews" partly wanting to pick the brains of a number of people whose work I do not fully have at hand.  In dp's case, I have heard/bought quite a lot of it, he is very prolific, and interviewed him once before already, but I would add that he is still one of the foremost and distinctive noise artists in the history of the genre.  I'm not necessarily speaking in terms of popularity, but the most innovative, yet utilitarian approach to the totally open-ended idea of being able to do whatever one wants with recordings.  At times it is as raw and primal as it is classical and precise, transcending simple "fluxus" or "avant-garde" appelations.  His work is a genuine mythos of its own.  With that, at the risk of saying something less articulate than I have in the past, I'll just add a quote from the previous interview:

When I saw him perform twice last year (2011), both sets were distinctly different, but both succeeded in affecting a certain aboriginal feeling in my body, by way of subsonic frequencies or animal instincts or what-have-you, and bypassed my natural inclination to be turned off by what I would normally call sanctimonious presentations in a performance context. One set consisted of several layers of untreated insect field recordings, like a choir that was conducted into an exhilarating sort of Eno-esque hum. Dave passed around infosheets that expounded upon the importance of bugs in the entire scheme of our food chain, and sat barefoot Indian style.

The second set was even more visceral, a video montage of animals being skinned alive, a live wolf getting its leg hacked off and its head stomped into mush, or a dead monkey with the word “CRAP” carved into its forehead occupied the screen alongside messages like “errare humanum est” or “the self some imagine surviving death is a phantom even in life”. Walking around with a mask on, breathing into remote loop pedals, and triggering various sounds of animals screaming over string samples, Phillips chiseled together a dizzying miasma of tragically unnecessary pain, graphically unrelenting death, and the intrinsically cruel nature of human condition, who in its “civilized” state, refuses to tend to the ugly corners of reality. It was still the most effective exhibition I have ever seen, and I think that Dave Phillips will be remembered as a shining example of someone who transcended academic circles and noise or music scenes alike.

1.  What types of things have you been getting into lately?


cooking, again and again. i love spending time in the kitchen creating dishes and refining recipes. and then eating :o) i've been experimenting with kim-chi since about a year, the way it dances on the tongue amazes me. also my kombucha seems to be improving.
and books, again and again. i'm probably more inspired/driven by books than by music. i just finished 'the dispossessed' by ursula le guin, before that 'sapiens' by harari which i found devastating in places. i just started 'facing gaia' by bruno latouri also been reading lots in connection with gathering texts for my new lp called 'the sixth mass extinction'. happy stuff. 
and music, of course, never-ending joy! new discoveries happen all the time, even when they might only be new to me... 

2.  What you do, do you do it as an artist, or is it a hobby? 

such dualistic distinctions don't really cover the spectrum of possible realities, if you ask me. i have the privilege of being able to dedicate all my time to doing what i love.


3.  How would you describe what you do?

to live! dealing with the world i live in and the mind i live in and having a channel that suits me. having the privilege to do what i love and following that passion.

4.  How would you describe your creative progression over the years, in a brief synopsis?

onwards. 

5.  How would you describe your philosophy?

ugh. what drives me seems to be a diverse ecosystem of things that work together in conscious, subconscious and unconscious ways. i'm not sure i understand it all (consciously). but i've tried to formulate it, again and again. texts such as the one to 'homo animalis' were a start. the text part of rise was a big step in the direction of defining a philosophy. but there's so many angles to it all, i can't put them in a simple answer here. here's a bit of philosophy but that's regarding the mutations project.... http://www.davephillips.ch/assets/img/pdf/mutations_live_set_leaflet.pdf.. also my website should be including a text page in the near future...

6.  Do you believe in psychics, magic, ghosts, or gods?

it's a matter of definition, isn't it? i'd say, i don't believe in things supernatural - i don't believe in "gods or ghosts", but there's often a "but...". cause i don't think "reality" is defined solely by things that can be proven scientifically or empirically. i also don't think human knowledge is as developed as it could be, there are many things we have yet to understand, and there's things out there, connections, energies or whatever you wanna call it, that we just can't describe yet, maybe not even perceive fully. to assume that we have all the knowledge it needs to understand or explain all that is going on seems pompous. also understanding has different levels, not just a rational one, we can understand with our gut, with our heart, maybe with other senses. and then some of these senses might not be quite developed yet (or have shrivelled)...and then we also have the restriction of language, of the formulated, categorical way of understanding the world. a dominant way coz it appeals to simple male rationality, but a loss in terms of understanding the world fully. 
for i do believe life is magical in essence. but what i mean by magic could be something else than what you mean...

7.  What would you say was your most definitive experience?

there's many, hardly just one. hearing insects at sunset in a tropical rainforest for the first time. meeting people who have become parts of my life - the intense magic of love and friendship. some concerts played and tours made and the energies these generated have had impacts that are beyond words and could be called "definitive" or "transformative". my first astral projection. the first time i experienced the swans live. some friends dying in front of my eyes or in my arms are pretty definitive experiences. and when one's body chemistry combines with a loved other's body chemistry and takes you to new dimensions...

8.  Do you have any side projects that I am not aware of? If not, what is something you'd like people to know about you, that you don't think anyone would ever ask?

there's been some short-lived side-projects that i'm quite sure you don't know about.
and i like to think there's a good enough reason that people don't know certain things about me and it's okay if it stays that way - until someone asks.


9.  Would you care to name any theoretical "desert island" records, or at least releases that you think are approaching your concept of "perfect"? 

on a desert island i reckon i'd prefer to listen to insects and waves...

as for 'perfect' albums, hm.... morton feldman 'piano and string quartet', rothko chapel', 'neither' and 'for samuel beckett' and more.... venom 'welcome to hell'. amebix 'no sanctuary'. coil 'horse rotorvator' - actually, a lot of their stuff is pfp. nurse with wound 'homotopy to marie' and 'salt marie celeste'... and a few others of their's too. non 'blood and flame'. etant donnes 'bleu' and 'aurore'. john duncan 'dark market boradcast'. die kreuzen's first lp. autopsy 'mental funeral'. ustvolskaya symphonies 3 and 4 and her 'composition II'. ligeti's first string quartet and his requiem. lots of penderecki's 60's and 70's orchestral works. extreme noise terror's side of the split-lp with chaos uk. rudimentary peni 'cacophony'. butthole surfers 'locust abortion technician' and a lot of their stuff before that. the mob 'let the tribe increase'. rattus lp on ratcage. carcass 'symphonies of sickness'. foetus 'hole', 'nail' and 'thaw'. luigi nono's tape works. akira tamba's 'musique de nô'. stations of the crass. the shining soundtrack. laibach 'baptism' and 'nova akropola'. jerry goldsmith 'omen II' soundtrack. scelsi's orchestral works. schnittke's requiem. swans' first two lp's. septic death's first album. melvins first lp. killdozer 'little baby buntin'. big black 'atomizer'. godflesh 'streetcleaner'. cryptic slaughter 'convicted'. sortsind 'sår'. silencer 'death pierce me'. john carpenter 'the fog' and 'halloween III' soundtracks. 'the exorcist' soundtrack. corrupted's 'llenandose de gusanos 1' and their early singles. charles m. bogert's 'sounds of north american frogs'. captain beefheart's 'trout mask replica'. gore's first two lp's. the haters 'in the shade of fire'. the shaggs 'philosophy of the world'. those 3 lp's of tibetan rituals recorded in bhutan by john levy. tiny tim's early works. that thai boxing music cd i picked up in thailand in 1994. mob 47's early stuff. the mrr 'welcome to 1984' comp lp. diamanda galas 'divine punishment' and 'litaneis of satan'. 'gong gede 3' by isi denpasar. repulsion 'horrified'. terrorizer 'world downfall'. napalm death's 1st and 2nd peel session. a lot of rudolf eb.er's work. abba 'gold'. the more i reflect the more stuff pops up... 


10.  What is the earliest childhood memory you can (or are willing to) recall?

there are two. one is coming home from a visit to france, arriving at our appartement block - there was a special atmosphere, something in the air. and the other, not being able to get into this green short-sleeve overall that i had grown out of, which upset me. i was around three years old in both of those memories, but i don't know which one came first.

11.  Are you able to appreciate other peoples' creative work regardless of their personal shortcomings or inherent flaws?  To what extent? 

sure. it would seem impossible to imagine one's self agreeing fully to everything a person stands for or does, whose music or art one likes. i mean, we're all flawed...

12.  Do you have any heroes or heroines?  Who are they?  Feel free to add anything that makes them stand out. 

this can change every week. last sunday it was tiny tim was (not for the first time) during many hours in the kitchen drinking wine and preparing vietnamese spring rolls with my partner. early this year it's been greta thunberg.
other than that i've always had a soft spot for people who stand up for and fight for their beliefs and prioritise this fight more than their personal well-being, their comfort or safety, especially in defence of animals, the environment and human rights.
13.  What would you like to have on your epitaph?  Or what is your favorite quote? 

i like collecting quotes. some of them end up as song titles or in my video works. a "favourite", hm.... maybe "it's better to regret something you have done than to regret something you haven't done" that i know from the butthole surfers.
an epitaph - i'd prefer to have none. i have different ideas about ways to die where my body would not be found... thus maybe forfeiting the necessity of a grave or an epitaph...we'll see.

Saturday, March 28, 2020

March 2020 Update





Two harsh tracks by Blood Rhythms have been issued on pro CDR format with cover/collage art by Arvo.  The first track is unreleased, and after many temptations to include it on cassette format releases, it was decided that digital format would allow for the full range of dynamics.  Also included is SIDE B from the c20 on Phage Tapes, "Nothing To Declare" (Part 2), which is a lot of layers of metal abuse and feedback.  Digital download is only available for subscribers.   Copies of the pro-CDR are available here.  Thanks to all who have supported so far!


BLOOD RHYTHMS "HEURISTICS" is being reissued on silver/metallic/platinum cassettes.  There will be a standard edition as well as a special edition in clamshell cases, with inserts on silver paper, available for pre-order now.   Heuristics is a collection of material ranging from 2000-2015, each with a story behind it/ ample liner notes, and is lightly remastered for cassette by Arvo Zylo.  


Another subscription only release:  Arvo's collaborations with Kommissar Hjuler und Frau.  This is the only way to hear the digital version, outside of the cassette edition.  Initially released on very limited CDrs and cassettes by the Psych KG label.  UND



Arvo Zylo contributed an exclusive track to a new compilation curated by humanhood recordings, featuring Modelbau, Richard Ramirez, 156, Crank Sturgeon, and more.  


Crop of a page from the art booklet (black vinyl edition)



The BLOOD RHYTHMS CIVIL WAR LP was aired on MUH MUR Radio, hosted by Steve Cammack of Dieter Muh.  Some other artists in the tracklist were:  Sterile Garden, Robert Turman, Jim Haynes, Bourbonese Qualk, Dome, and Modelbau.  




More airplay of the PUSSIFICATION CompilationDusty Rhodes on KFJC played the tracks by The Rock Cats, sevenism, and Forrest Friends, as well as Bran (...) Pos, Scissor Girls, and Black Dice.  Avakhov played the Mini Mutations track, as well as Gershon Kingsley, Headboggle, Fossil Aerosol Mining Project, Esquivel, Negativland, NAMANAX, Ken Nordine, Leonard Nimoy, Neal Hefti, and John Barry.  Goodwrench played the track by Forrest Friends, as well as Crank Sturgeon, The Young Gods, and Plaid.  Mr. Slippy played the track by Anla Courtis in addition to Follakzoid, Willie Nelson, Negativland/Chumbawumba, Mike Oldfield, and Thomas Dimuzio.  Mind Surfer played the track by Le Scrambled Debutante in the company of She Past Away, Mark Stewart, The The, and Fat Worm of Error.   



Ed Pinsent at the Sound Projector aired 4 tracks from PUSSIFICATION, those by Le Scrambled Debutante, Forrest Friends, Suffering Profusion, Dooley & All Extinct Animals. 



A track from Illusion of Safety's "Surrender" full-length was aired on KOPN by Mark Medley for Insomniac's Delight, alongside Ramleh, Tones on Tail, Circuit Wound, Primitive Knot, Subklinik, Hula, The Rita, New Mexico, and Suttcliffe Jugend. 



A (Insect Deli) track from the "333 remix album" 333REDUX was aired on The Answer Is In The Beat alongside Lightning Bolt, Burial, Oval, Wobbly, PTV, and Tangerine Dream.  A track by Architeuthis Dux's "Submergence" as well as a track from Bull of Heaven on 333REDUX was aired on Mid-Valley Mutations by Austin Rich.  This episode is themed around teeth and hair, and also features Captain Beefheart, Teeth Collection, The Seeds, Syd Barrett, The Vaselines, Mr. Bungle, and more.



 In addition to that, Thirteen Hurts was aired on KFJC by Dada Diogenes, along with Maurizio Bianchi,  Inca Ore, Nital Etch, Jason Zeh, Mats Gustaffson, Broadcast, and more.


If you haven't already, feel free to stop over at the interview section, where the man behind Thirteen Hurts (the fact that is is the 13th of the series and was published on Friday the 13th is purely incidental)  was interviewed as part of our monthly series. 


Friday, March 13, 2020

Interview Series #13: One-Eyed Zatoichi





 Scheduled on March 6, 2019
One-Eyed Zatoichi is a preferred nomenclature from the spearhead of a noise project called Thirteen Hurts, which also has a leg of it separately titled "13Hz" for his modular work, as I understand it.  I think it's important to note, because I remember being told that there are no other sources beyond pedals for Thirteen Hurts, but to some, it does sound like a synthesizer is in there somewhere.   I met OEZ in Denver several times and again in St. Petersburg, Florida, in which case he drove 2,000 miles to play for 15 minutes at a noise fest.  At that time, he lived in some sort of solar-powered dome within the guts of Colorado foothills, six hours from any sort of civilization.   I've seen noise artists with too many pedals, and OEZ has more than those dudes, but he has a bizarre precision and intent with his performances.  They are cinematic and rowdy in nature.  Of course, he has a release on NO PART OF IT, but his previous two releases are also pretty starkly placed within the realm of what I'd want from a pedal noise/"heavy electronics" artist.  I also find his work to be unique in that I am taken to a specific abstract place when listening to it-- it has substance (which I regularly find off-putting in harsh noise releases) that suggests an intention and would be fitting for some sort of UFO hunter or a person digging around in tunnels looking for reptilians.  What I mean here, is not necessarily do I think OEZ is into that kind of thing, but I find his sounds to be inherently visual/exploratory in a way that I don't come across much.   It is entirely coincidental that this is the 13th interview in the series, by the way. 

1.  What types of things have you been getting into lately? 

 I’ve set aside the majority of 2019 to revisit a batch of demo recordings I did about 25 years ago with a singer. Those days were my last-ditch efforts in an attempt to be in a band and perform live, but all of that collapsed and I gave up on the project. I continued to listen to the demos over the years and had always wanted to re-record everything, get it mixed and mastered and be able to say that at least I finished a project. This stuff was recorded before it was common to record on hard drives, everything was recorded onto a Tascam 388 8-Track machine. The plan is to put everything I can into this, re-writing parts, recording the instrumentation over and editing the vocals parts until I am satisfied and can move on from this project. The singer passed away in 2011, so the vocal tracks that I have are all I will be able to work with.

2.  What you do, do you do it as an artist, or is it a hobby? 

I’d have to say more as an artist, since the exploration never stops, the interest in moving forward impels me to improve so that I can get to the next level. I believe that if my endeavors were a hobby, I’d be more content with what I have achieved. 

3.  How would you describe what you do? 

 Pretty much fuck-off the majority of the time. At my age, I can look back in sadness at the wasted years… the wasted decades and see the light at the end of the tunnel in terms of how many years I have left to callously throw away. This is my biggest hurdle at this time, to learn how to utilize every moment I have and maximize whatever pleasure or satisfaction I can glean from the remaining time I have. However, when I am doing something that I would consider creative or interesting, that usually means getting back into oil painting or plunking around on keyboards, always writing musical ideas down and daydreaming of a new project. I consider myself one of the laziest procrastinators that I know. This having been said, I have finished projects in the past, for example the Thirteen Hurts noise recordings and I am extremely satisfied with how those came out. And the live noise shows too. I don’t practice noise, I just prepare for a show a few weeks ahead or set things up if I need to record something. I’m quite good at wasting time, of which I have very little to waste.

4.  How would you describe your creative progression over the years, in a brief synopsis? 

 I started out oil painting in my early teens, then started playing piano and keyboards around the age of 15, focusing on Jazz and Fusion, which was the real shit at the time. I was in a handful of bands, mostly Rock, Funk and New Wave, and then I focused on finding a female vocalist to create a “shoe-gaze” or Cocteau Twins style band. After that, I focused on experimental and noise but could not figure out how to proceed. Eventually I got it figured out and did that (still am) for a handful of years. Now, I’ve temporarily switched gears to working on my old recordings so I can finally have a “catalog” of music I’ve worked on over the years. But I do need to mention that the painting and some photography came and went, interspersed within the musical projects over the decades. And I’m still looking for a female vocalist……

5.  How would you describe your philosophy? 

I don't adhere to or study any Western Philosophies, I've always gravitated toward Eastern Philosophies, specifically Japanese. When I was a young teenager and a Bruce Lee fan, I studied Karate for a few years. I was also completely enamored with Samurai films shown in Japantown in San Francisco. Remember, I'm old. So there was no internet, no one even had a basic VCR at the time. If you wanted to see a film, you had to go to the theater or watch one on TV with commercials (pre-HBO). Around the age of 15, my Karate instructor gave me a book titled “Bushido, the Soul of Japan” by Nitobe. Sure, slicing off heads was cool, but this was a book that dug into samurai philosophy, something my small pea-brain had a difficult time grasping. But something there spoke to me deeply and has been ingrained in me ever since. I also delved into Miyamoto Musashi's Book of Five Rings. Those two books influenced and shaped me in a way that is still there to this day. And at a subconscious depth, also one reason why I was a lonely, single person until well into my 30's. Shit, I'm not single anymore, but I'm still lonely. Maybe that's a philosophy.

6.  Do you believe in psychics, magic, ghosts, or gods? 

 I haven’t bumped into any that have impressed me to the point of making me want to believe. A friend and I did go to a few senior homes with our recording equipment (audio and video) in the wee hours of the morning as these places were reported to be rampant with the ghosts or spirits of the tenants that passed away. We never came upon any paranormal activity though different residents told us of seeing the same “ghosts”, usually right as they got up and arrived at the dining area. I'm not intimately in tune with the human side of phenomena, I have more of a nature-loving speck-of-sand type awareness.

7.  What would you say was your most definitive experience? 

Climbing the cliffs at the north west edge of San Francisco. There was an enticing chasm or inlet of cliffs that looked like a challenge to conquer. I started at a low spot and began to vertically climb upwards and outwards. I scrambled out too far and the soil under my hands started to give way. Looking straight down, all I saw were jagged rocks and waves crashing onto those. Basically, instant death. I looked over my shoulder and across the way, people were starting to stand up and look at me. I got really scared, the most scared I’ve ever been. As I grew weaker from the effort, I froze in place wondering how I was going to get out of this predicament. I kept having to change my grip as the soil was turning soft and muddy. I called out to anyone above me on the top, but the effort of calling out caused my body to heave and move to the point of losing my grip. I was suddenly overcome with the fact that I could possibly die here. This was the first and only time in my life I truly prayed. A deep, meaningful prayer. More of a calling out to whatever supreme being might be looking over me at that moment. I don’t remember the exact words I was thinking at the time, but I have never felt so scared yet also accepting that if I fell, I would be ok with it. I was with a friend’s wife and I kept thinking about how she will wonder where I wandered off to. It was actually the thought of her that gave me that last impetus of effort to grab a clump of weeds growing out of the cliffside. That in turn led to another handful and foothold, and another until I clawed my way to the top. My heart was pounding, I almost passed out. I looked back across the chasm and some onlookers were still shielding their eyes from the sun, a few turning away in disappointment. I had climbed hundreds of cliffs in my youth all along the beaches of the SF Bay Area, but this one experience ended any and all interest in ever doing that again. After this, I realized that I wasn’t invincible, that I wasn’t going to conquer the world. There have been other experiences that could be considered definitive, but almost giving in to death tops my list.

8.  Do you have any side projects that I am not aware of? 

No, nothing ongoing besides the vocalist recordings I'm currently involved with. There is the Modular Synthesizer stuff, but that is so sporadic and fragmented, I wouldn't consider it a side project.

 If not, what is something you'd like people to know about you, that you don't think anyone would ever ask? 

Nothing really. My days of grandstanding and wanting to be noticed are well behind me and I make concerted efforts to keep that in check. It is frustrating, though, that my ego, which is the size of Texas, still rears its ugly head now and then.

9.  Would you care to name any theoretical "desert island" records, or at least releases that you think are approaching your concept of "perfect"? 

Desert Island records would make me select musical favorites that I love. When you say “perfect”, I immediately consider production quality as well as musical performance, which cuts out some I would consider as a “favorite”. It is almost impossible without making a list containing dozens if not hundreds of releases. But the pressure is on, so here is a hodge-podge selection limited to the proverbial 10 releases: The Dreaming – Kate Bush, The Walking – Jane Siberry, Blue Bell Knoll – Cocteau Twins, Loveless – My Bloody Valentine, Birds of Fire – Mahavishnu Orchestra, Romantic Warrior - Return to Forever, Silver Apples of the Moon – Morton Subotnik, Dark Side of the Moon - Pink Floyd, Sgt. Pepper's Lonely Hearts Club Band - The Beatles, which I know you are not a fan of. But the most recent release that has been remastered by Giles Martin (George's son) is aces. And last but not least, Pulse Demon – Merzbow. To clear out the cobwebs. But there are zillions of others, even a few opera pieces that always bring tears to my eyes from their sheer beauty. I know you didn't ask this, but one of my continuing thoughts is this: I love to listen to music and have so many favorites from so many different genres. What will be the last song I listen to before I die? When my body is shutting down and I am no longer responsive, should I request that someone put some headphones on me so I can still hear (if I can hear) some music? What should I request be put on? For some reason, the answer to these questions have become an obsession with me.

10.  What is the earliest childhood memory you can recall? 

 I’ve recalled this memory decades ago and it is while I was still in a crib, probably 2 or 3 years old. The lights were out in the room, with the door partway open and the hallway light on. I was looking up at the ceiling, past the stupid mobile thing that everyone seemed to think I liked. I remember the walls being a pale green and someone coming in the room to check on me.

11.  Are you able to appreciate other peoples' creative work regardless of their personal shortcomings or inherent flaws?  To what extent? 

I have no issues whatsoever appreciating anyone’s creative work, as long as I find it interesting enough to explore. What someone does in their personal life or believes in is not a concern of mine. An example would be Charles Cohen and his work with the Buchla Easel Synthesizer. I deeply admire his efforts on that instrument but have zero interest in his personal life. I know on a couple of forums, people have shunned him and his work due to his personal issues. Yeah, he’s not someone I would have hung out with, but that doesn’t stop me from admiring his artistic talent. Another example would be Chick Corea. I love his playing and writing, a true master of his instrument. But that Scientology stuff? Not for me, but I still listen to his work.

12.  Do you have any heroes or heroines? 

Just musical and artistic heroes.  John Mclaughlin, Elizabeth Frazier and Robin Guthrie, Glenn Gould, Thelonious Monk, Jaco Pastorius … in the art world, I would consider Jackson Pollock, Paul Klee, Joan Miro, Mark Rothko, Claude Monet and Van Gogh heroes of mine. I would also consider Jack Kerouac and Neal Cassady two heroes of mine as they taught me the importance of road trips and the adventures you can experience.

13.  What would you like to have on your epitaph

“Here lies a Celestial Terrestrial Commuter”  

Or what is your favorite quote? 

 “You can’t have everything. Besides, where would you put it?” 

Friday, February 28, 2020

February 2020 Update


There are a number of things we could do with a subscription format here. For one, there are a number of releases that have not been represented digitally at all, or hardly at all. One of the reasons for this is the desire not to have everything naked and raw for random strangers to click through. In a subscription format, the supporter would already be initiated enough to warrant allowing digital releases or previews of material that would otherwise be only suitable for physical format, at least to me. There are things that have been physical format only, and there are things that have not been released for years because they are going to be part of a box set eventually, etc. This won't be throw-away material, although some live documents and "demos" may be involved, and as a creative individual who also runs a modest label, I can guarantee there won't be anything here that I don't standy by, even if my reasoning might not be immediately obvious to everyone, and although there might be a temporary document here and there, this would give me an opportunity to let people view some things that haven't come out for several years, mainly because I'm not done yet. This will also be an outlet for me to be more experimental with new developments in culture/the way we digest it. We will try this out, for the time being.   More info.




There is a modest addition the the Blood Rhythms discography available.  It is an edition of 44 hand-numbered recycled cassettes with hand-made duct tape covers and hand-stamped skull symbols for the art.  There are 90 minutes of material for this release, depending on what length of cassette was used.  The content is harsh noise of a lo-fi but nuanced textural variety, with rhythmic/loop -based periods throughout.



Blood Rhythms' Civil War LP was reviewed at German site Baby Blue Prog Reviews.  Many thanks!  Here is what the English translation engine gave us:


Arvo Zylo is an avant-garde musician living in Chicago. His project Blood Rhythms is dedicated to the extremely courageous sound experiments that probably would not all be located under "music". Like this from the LP “Assembly” (2014), on which the electoral chants combined with wind instruments were recorded in a meat cold room and then electronically processed. If that's not really progressive, then I don't know what to do. Zylo likes to pack his sound creations as noisy loops from electronic and acoustic sound sources that are difficult to bear for many beautiful spirits.
Extremes can also be expected on the present LP "Civil War" from 2019. Acoustic sound producers included a saxophone, a clarinet and a trumpet, which were electronically alienated and processed into an intensely bubbling sound collage. There are also numerous other sound sources to be identified, which are not all clearly assigned. Sometimes the industrial rhythms, the aggressive chanting and various other voices.
Electronic loops, which presumably mainly consist of bass clarinets. Ghostly whispers. Short waves from the radio, or maybe feedback sounds. Industrial noise. Overdriven and alienated chanting to feedback orgies. Sounds of the Apocalypse. This is how they describe the opening of the LP "(En) closure (Hearts on Fire)" and "Onist". The meditative ambient loops at the beginning of “Locked away” have a soothing effect if you have somehow survived the extreme “onist” without leaving the room. Once you have digested or even understood the concept, the shamanic-orgiastic loops that meet in “Paris Window” seem almost familiar. Just like the noisy industrial waves of "The Face" A sick and now familiar world after the first LP page. In his interviews, Arvo Zylo has interesting inspirations, concepts and theories to tell about almost every track.
Is such an extreme experience worthwhile for the pinna, an ear gas for those who like to suffer? The answer could be positive if you want to hear something that you probably haven't heard before. In case it can be something that isn't necessarily nice, but rather upsetting. "Civil War" is probably primarily for masochists, tormented souls and the extreme experimental musicalists. The work is only available as a vinyl long board. In case you want to test whether the turntable's needle starts to melt with extreme sounds.



Civil War was also aired on KFJC, Bryan Chandler's show, alongside Harold Budd, Swans, Boy Harsher, Gilbert & Lewis, Loretta Lynn, William Burroughs, and more.  The LP was also aired on Insomniac's Delight with Mark Medley, as well as Crass, German Shepherds, Chrome, Bathory, Neubauten, Taeter, Ceramic Hobs, In The Nursery, and Fred Lane.



Arvo Zylo and Blake DeGraw's "Ligeti Split" was aired on WFMU's Polyglot Radio Show with Jesse Doris (Arvo's track titled "Double Etude", alongside the likes of Steve Reich (following his "Double Sextet"), Pulse Emitter, Keiji Haino, Algebra Suicide, Joachim Nordwall, and more. 



'The Radio-Friendly Kind of Pussy'

Anla Courtis' track from the Experimental Cat Music Compilation called "Pussification" was aired on WFMU by Daniel Blumin within the ranks of Mike Weis, Jason Lescaleet, Acid Mothers Reynols, Masaoka/Chen/Grüsel/Nagai, and more. The Anla Courtis track was also aired on Serious Moonlight with Carol, alongside OOIOO, COIL, Delia Derbyshire, Danny Elfman, Tom Waits, et al (one of the more accessible playlists this label has been squeezed into).  Again on Serious Moonlight, RUBBISH's contribution was aired among artists such as Pauline Oliveros, Luc Ferrari, Robert Rich, Moor Mother, Oval, and At Jennie Richie. The tracks  by The Rock Cats as well as Le Scrambled Debutante were aired on Radio Ravioli with Olivia, in the company of Elvis Presley, Honey Ltd., Strawberry Switchblade, Minnie Riperton, Marvin Gaye, Lee Renaldo, and more.  Forrest Friends' track from Pussification was featured on The Rest Is Noise with Delphine Blue, as well as tracks by The Fall, Konono No. 1, Robert Wyatt, Antibalas, Yello, Nina Simone, Gil Scott Heron, and the list goes on.  On 100% Whatever with Mary Wing, the track by Mean Flow was featured in the company of Gary Numan, DJ Shadow, Air, and Girls Under Glass.  On This Is The Modern World with Trouble, Carol Sandin Cooley's track was aired within the ranks of Lee Scratch Perry, Nina Simone, Grouper, Margaret Lewis, and more.  I enjoy the conversations about the release that have been happening in the comments, too.   Thanks for the support!

Finally, the compilation (track by sevenism) was also aired on KFJC by Les Payne, as well as Juno Reactor, Alice Kemp, She Past Away, Igor Wakhetivich, and more.  Cinderaura played  tracks by Mini Mutations, Anla Courtis, Le Scrambled Debutante, and Mean Flow, as well as NAMANAX, Cosey Fanni Tutti, Blectum from Blechdom, Black Dice, Bran (...) Pos, Konstruktivists,  and Negativland.   Teachers AIDS played Fhtagn's track from the comp, as well as G*Park, 1349, Satyricon, and Crank Sturgeon. In a different set Teachers AIDS again played the track by Anla Courtis from the comp, as well as Sewer Goddess, Scorn, and Midnight. The track by Forrest Friends was aired again by SAL 9000  along with NAMANAX, Bran (...) Pos, Monolith, Charles Wuornen, and more.  The track by Makeulv was aired by Naysayer along with KK NULL, Roy Montgomery, Himukalt, and Laddio Bollocko.    Cynthia Lombard played the track by Carol Sandin Cooley, as well as Cosey Fanni Tutti, Erma Franklin, Daphne Oram, and Grim.

Le Scrambled Debutante's track was aired on KDVS as well, with Puce Mary, Zorn, Space Streakings, Francoise Hardy, and The Caretaker.  Fhtagn, Forrest Friends, Mini Mutations, and Dr. Rhomboid Goatcabin were aired by Robin Redbeast, in the company of esplendor geometrico, Harry Pussy, Cocteau Twins, and Yoko Ono.  Again on the 6th Dimension, Mini Mutations was aired along with People Like Us, Wobby, and Lana Del Rabies. On Lo-Lite Chem-Lab, Dooley & All Extinct Animals were aired along with Daughters, Pink Floyd, and Unknown Moral Orchestra.  On Cinnamon Post Grunge, The Rock Cats were aired alongside BRUME, Kevin Shields, and Sonny & Cher.   Thanks!



Copies of Blood Rhythms' Civil War LP and many of no part of it label's pro CDR titles are available at Skeleton Dust Records in Dayton, Ohio.


Thursday, February 13, 2020

Interview Series #12: Jonathan Canady

 
photo credit: Suzie Assault Rifle

Scheduled on March 6, 2019
Jonathan Canady may be known for many things: His early metal band Dead World that he was in during his tenure as art director of Relapse Records, his relatively well-known power electronics outfit Deathpile, other projects such as Angel of Decay, Nightmares, or Sexual Assault Rifle, among others.  Canady is also a somewhat prolific visual artist, of an especially poignant macabre and minimalist nature.  What strikes me is his aptitude for being somewhat of a maverick within the realm of dark subject matter.  His approach is naturally comprehensive and nuanced, rather than overly linear and one-dimensional like so many others, but I guess it helps for me having read his now defunct site Colors of the Dark at length, where he explored his interests in the form of pre-tumblr blog posts, interviewing and writing articles on a number of obscure subjects that reach far beyond the realm of many a metal head, industrial fanatic, dark synth / dark ambient aficionado, or reader of off-the-beaten-path literature.  Not to mention his apparent "collage zines" where two different obscure magazines would be merged by a half & half layout, giving a different context to fractional subject matter.  I have always felt like Canady would/should/could/did run a book store, but either way, his solo synth work is stellar, and I don't say that about synth music too often.  Again, it may help that he and I have had a brief discussion online about movie soundtracks, plus a little segment on his aforementioned blog, and I imagined myself in a study full of dusty hardbound books, candelabras, skulls, taxidermy, velvet paintings, and vintage torture devices.   Make of that what you will. 



1.  What kinds of things have you been getting into lately?



I tend to stick to older books, movies and music. However one recent thing I got into is the Sci-Fi trilogy "The Corporation Wars" by Ken MacLeod. I had a brief email exchange with Mark Pauline from Survival Research Laboratories and he recommended it. I was not disappointed.

2.  What you do, do you do it as an artist, or is it a hobby?

Since 2007 I would say what I do is as an artist. That's when I began making serious visual art. I also integrated my solo experimental music into my art as of 2012.

3.  How would you describe what you do?

I'm an artist that primarily works with drawing, artists' books, audio/video.

4.  How would you describe your creative progression over the years, in a brief synopsis?

Every time I re-visit something I did years ago I am struck by how much I've improved. I think that's the key. Constant improvement and resisting the temptation to repeat myself.

5.  How would you describe your philosophy?

I don't have a philosophy exactly. The one over-arching theme of my work for the past several years is the fact that all of us are positive and negative. Negativity shouldn't be suppressed but balanced with our positivity.

6.  Do you believe in psychics, magic, ghosts, or gods?

Psychics - no. Magic - only in the sense that "magic" is what we don't understand or can't explain. Ghosts - yes. I lived in a house that was haunted and had first hand experiences. Gods - NO.

7.  What would you say was your most definitive experience?

Deciding to dedicate my life to visual art.

8.  Do you have any side projects that I am not aware of? If not, what is something you'd like people to know about you, that you don't think anyone would ever ask?

N/A

9.  Would you care to name any theoretical "desert island" records, or at least releases that you think are approaching your concept of "perfect"? 

Throbbing Gristle - Second Annual Report
Black Sabbath - Black Sabbath
Concrete Sox / Heresy - Split LP
Big Black - Atomizer
Tangerine Dream - Rubycon
Celtic Frost - Morbid Tales

10.  What is the earliest childhood memory you can (or are willing to) recall?

The opening sequence of Star Wars (Episode IV) at a drive in theater.


11.  Are you able to appreciate other peoples' creative work regardless of their personal shortcomings or inherent flaws?  To what extent? 

Yes and no. I am a big fan of Lovecraft even though he's considered a racist. I have also gotten rid of the creative output of certain people after having learned of something about them I dislike. That sometimes includes when they turn out to be... racist.


12.  Do you have any heroes or heroines?  Who are they?  Feel free to add anything that makes them stand out. 

Mark Pauline.

13.  Your favorite quote? 

I once heard a woman in Philadelphia say "That shit ain't got shit the fuck to do with me." I like that one.

Tuesday, January 28, 2020

End times


Photo by Christine K

Arvo was interviewed by HOUDINI MANSIONS at length about the recent CIVIL WAR LP by BLOOD RHYTHMS.   Here is an excerpt about a track from the LP called "The Face":

AZ: There is an aspect of “The Face” that is personal to me. It is partially about the battle between empathy and narcissism. There is the image of the narcissist admiring himself in the mirror, and also the old command phrase “take a look in the mirror”, as if to say that a mirror humbles a person in some way. Some of my most revelatory experiences have been with what they call “mirror scrying”, and I'll tell you, some really unbelievable things happen when one manages to do that at length! In doing so, I see different aspects of myself, and eventually, I'm just sort of experiencing this disconnect, where I'm just observing this strange creature in a window, and I forget that it's me. Characters bounce around in the background sometimes, too.

Not necessarily an inspiration, but I find a kinship with an artist whose name I've never known.  I was a bartender for catering companies in Chicago, and I often bartended at art galleries or fundraisers exhibiting art.  One particular artist layered apparently hundreds of mugshots of abusers transparently on top of each other, and part of his artist statement was apparently about phenotypes; that we all do have a face that perhaps, to some extent, phrenology could measure and predict, despite current claims of pseudo science.  Of course, the notion that some of us were told as a child, that if we keep making ugly faces, they'll be stuck that way, has a different context now.  And there's always the episode of the Twilight Zone, where people wear masks at the request of a dying rich man, in hopes of gaining his inheritance, and at the stroke of midnight, their faces are stuck like that of the mask.



There are some new releases at discogs.




First, the final edition of the BLOOD RHYTHMS - "ASSEMBLY" LP is called the "Found Under A Rock" edition.  Eight copies were accompanied by an anti-record covered in mealworms,  a black marble tile, a manually type-written, hand-stamped insert, and a black vinyl shopping bag.   These are already gone.   There are less than 13 copies without mealworms, but still coming with the aforementioned black marble tile, and so forth.   These are the original 180 gram LPs from the initial pressing of the record in 2014.






An unreleased LP by BLOOD RHYTHMS from 2013 called "Inherit The Wind" was released on a stereo lathe cut LP with color jackets.  Side A is a sort of montage of motifs inspired by COIL, created in one day, starting with the reading of the lyrics to "Paint Me As A Dead Soul" upon waking.  Side B was initially performed as an accompaniment to the tornado segment from the silent film version of The Wizard of OZ, and features source material from Dolores Dewberry.  These are lo-fidelity, with 20 minute sides, and will be released on cassette at a later date.




Another unreleased BLOOD RHYTHMS LP batted around both in person and remotely throughout much of the 2010s, titled "PHANTOM APOTEMNOPHILE" was also released on stereo lathe with quality jackets.  This one has shorter (15 minute) sides, so has better fidelity, but again, will be available on cassette at a later date.  This and Inherit The Wind are intended to be part of a box set.  This is a collaboration with David Oakspawn, also known under State Research Bureau and Desouvre Bruits.  One track features very special guest vocals by Gitane Demone (ex Christian Death).




A split LP between Arvo Zylo and Blake DeGraw is also available on a stereo lathe LP in full color jackets.  Loosely inspired by Hungarian-Austrian composer György Sándor Ligeti, this LP won't be available again in any other format.  The LP itself is comprised of home recordings as well as studio work at Cornish College, where John Cage's first prepared piano resides.  Blake DeGraw's side features layered string work, sometimes processed live in an electro-acoustic laptop setting.  Zylo's side features some lo-fi recordings initially set to mono, featuring strings and choir vocals by Blake DeGraw and Chloe Wicks, as well as some of Arvo's assemblage from work on the aforementioned John Cage baby grand piano.  DeGraw's side sounds surprisingly good.  Arvo's side is more lo-fidelity due to the length and loudness of the material.

In other news:



Pigswill's "Ghost Breathing", from the HETEROPTIKS comp on NO PART OF IT, was aired on WZRD, alongside GRIM, Robedoor, Harry Nilsson, Blackhouse, Luasa Raelon, PIL, and more.  Listen HERE




Arvo Plays Ferrante & Teicher was aired on WFMU's Cratedigger's Lung program, alongside SPK, Howard Shore, Renaldo & The Loaf, and more. 

Some kind year-end words from a satisfied customer who goes by the name of "Myrtle Lake":

Blood RhythmsCivil War (No Part of It)
I am not one to search out PE releases. The genre is largely facile and rote to my ears. When a PE release finds that elusive spark, then, my attention is rapt. I propose: Here is a statement of the current political and social zeitgeist. The music is oppressive, painful, vicious and bleak. It plods forward; each song attempt new and jarring. It all varies a surprising bit. The ensuing feeling is so frustratingly pent-up until "The Face" spits forth with abandon on Side B. Confident. Clear in voice. Contemptuous. The song is a stylistic outlier to the rest of the album. There are sources and sounds that might happen once, so you never know what might be off-kilter next. Overall, though, it is so very clearly “Power Electronics” without resorting to a recognizable formula. This may or may not be due to the practical super-group of contributors—among them, Dave Phillips (Schimpfluch-Gruppe), Wyatt Howland (Skin Graft) and Dan Burke (Illusion of Safety).



 Several tracks from PUSSIFICATION:  A Compilation of Experimental Cat Music were aired on  Mid-Valley Mutations, hosted by Austin Rich.  It is actually an archive of a radio show (recording the stream, I presume) of Lisa Miralia's Mysterious Black Box Radio Program on WCSB, Cleveland.  I didn't know it existed until now.   Thanks Austin and Lisa!   


If you haven't yet, feel free to stop by and read the most recent installment of the no part of it interview series, with Neil Jendon.