Archive for the ‘Pere Ubu’ Category

Noiseweek: Sunn O))), My Disco, Iceage, Pere Ubu, Heads.

Saturday, August 22nd, 2015

The sights, sounds and words of the week in noise.


South Of No North: Greg Anderson Of Sunn O))) & Goatsnake Interviewed | The Quietus

“Honestly, I’m both surprised and grateful about it every single day. When we first started no one, and I mean no one, really cared. And, if I’m to be really, really honest, we didn’t really care. Especially about what people thought. We just wanted to experiment and play music together, really the audience, the idea that people would actually listen to it was kind of an afterthought, we were really making music for ourselves – in some ways Sunn O))) is a very selfish project. I mean, we weren’t even sure if we were ever going to play live, we imagined that it would just remain a studio project. And then when we did start playing live eventually it really started connecting with people and honestly that kind of gave me a lot of hope for people because it’s obviously very difficult, very challenging music – I was like, ‘Wow! People can get into this? That’s awesome!’ Because you wouldn’t expect most people – or really anyone – to be that into it. So yeah, I totally see where you’re coming from and I kind of agree. I think Sunn O))) somehow connects with people on this super primal level – it’s very real, but at the same time the music helps create this alternate reality, and people seem to want to be in that dimension for a couple of hours or so.”

Does Anybody Even Have Time For An 80-Minute Album? | NPR

“It’s interesting to think about the different ways that album length has evolved over time. For most of history in the album era, it was defined by format — first the 45 minutes or so of an LP, then the 80 minutes of a CD. In the LP era, you really had to justify the additional expense of production and the fact that you’d have to charge more. With CDs, that was no longer an issue, and in the ‘90s in particular you had some people feeling “ripped off” if an album only had 45 minutes of music, so in some cases artists would put on CD-only bonus tracks to make it seem like they were making the most of the format. But then of course file sharing and digital files changed all that, and suddenly, you could have albums be as long or short as you wanted very easily. There was an initial trend toward shorter releases, experimenting with a four-song or eight-song release, like the mini-albums Robyn released in the run-up to Body Talk.

But the longer albums now, in a lot of cases, and especially in all of these cases you mentioned, is a way to say, “This is important. You are going to have to spend time with this.” It’s a little harder to make an “event” out of a release if it’s 35 minutes long. The initial feeing is, “This is all I could do.” Whereas these [long] releases convey the idea of sprawling masterpieces, and by extension, they are presented as demanding art. I do think that, even though artists want to say, “This should be taken whole,” in the vast majority of cases the albums are rarely ever experienced that way. It’s a little bit of a thing where artists present the work this way and the listeners kind of play along, and may even pay lip service to the idea, but probably the truth of it is that people are picking and choosing.”

Pere Ubu’s Dave Thomas talks being an underground legend and why he won’t call himself special | Noisey

“I don’t like photos. I don’t want to waste my time generating the limitless supply the industry requires. I know what I look like. I know what my mother looks like. I recognize her every time. What do I need a photo for? The government wants photos. Whatever the government wants I try to avoid. Good basic policy. I’m not in the business of being a pop star. I am a musician. The eye is a deceiver. It relies on the physical world and can be too easily fooled. It takes only 24 frames a second to deceive the eye into seeing real motion. It takes a minimum of 44,100 frames a second to deceive the ear. Sound is the authentic expression of human consciousness. The world is silent. Sound only happens inside the head of conscious beings. It is the by-product of consciousness. Why waste time with anything less?”


Heads. — At the Stake

Chris Breuer’s bass sounds like oozing pus, and I mean that as the highest compliment. Heads. imbue this slithering Melvins track with intoxicating menace thanks to the snarling tone of Ed Fraser’s flat-out evil intonations, along with his swampy guitar tones and the plodding rhythms. If the future of Heads. sounds more like this — brooding, meditative and plain evil — sign me up.

My Disco — King Sound

This is the the darkest track My Disco have ever made. While everything on 2010’s Little Joy was vibrant, King Sound is a faded strobe light in an empty prison cell. There’s a distinct Swans feel here, from the ritualistic rhythms to Liam Andrews’ prayer-like repetition of the song’s title. King Sound is taken from Severe, out October 30 through Temporary Residence.


Iceage — Untitled (Live at Pitchfork Festival)

Pitchfork saved the best footage of last month’s Chicago festival ’til last, finally uploading clips of Iceage performing this new, as-yet-untitled track alongside The Lord’s Favorite. Elias Bender Rønnenfelt is as magnetic as ever, slinking and slithering around the stage, singing from the floor and equal parts confidence and nonchalance. No one else right now is making music or playing shows that feel so fucking vital.