Covering the interesting underbelly of music, technology art and culture. Featuring unique performances from a.P.A.t.T. and many other groups and artists.
a.P.A.t.T. Syndication will ensure your eyes are as pleased as your ears.
What better way to soak up the Christs mass spillage time than with avant song craft eh? And what better person to chat with than Max Tundra aka Ben Jacobs.
Andre Reflex spoke to Max a few hours before his debut performance at ‘The Lodge’ to ask him a few questions about his music & life.
A large ensemble of musicians drawn from across the city’s music scene – all backgrounds, interests and experiences welcomed – will take over the Bluecoat for a building-wide performance of Terry Riley’s mesmerizing minimalist masterpiece, In C.
United by a common tempo and responding to the collective poly-rhythmic sound, the musicians make their own ways through Riley’s 53 musical ‘units’ as the piece pulses through the Bluecoat.
a.P.A.t.T. – who are also composing new works for this one-off ensemble – are a Liverpool based musical collective. Recent projects include a full live score to Nosferatu commissioned by BBC Radio. www.apatt.com
Interested in joining the ensemble?
Contact Jon Hering: jonhering@hotmail.com
Worried about reading score??
Don’t!!! a.P.A.t.T. will provide a non-music-reader friendly score with notes clearly stated along the piece. This, along with several rehearsals should allow a musician with a basic understanding of their instrument access to the performance.
Conditions:
• You need to be over 18 and have basic music reading ability – although there’s nothing too tricky and you will have the score in advance.
• Unfortunately, due to the size of the envisioned ensemble, there is no fee available for performing – you’ll be doing it for the love of the music!
• You need to be technically self-contained – either fully acoustic or supplying your own (small) amplifier.
• You need to be able to commit to 2 practices (Sun 6 and Mon 7 Dec) and the performance (Tues 8 Dec), all at the Bluecoat.
• Deadline for expressions of interest is Friday 6 November.
Many drummers, much shouting, many different noises,many different people. Lots and lots of fun… no guitars, no laptops”sax, double bass, oboe, mics, keyboards, and of course, DRUM KITS
He’s one of Britain’s most influential artists but now David Bowie stands accused of starting one of the nation’s latest trends: The credit crunch. As implausible as it seems, the Daily Mirror has today accused the pop legend of inspiring ‘securitisation’, one of the key factors behind today’s economic fallout.
Back in 1997 Bowie came up with the idea of selling his projected royalties income in the form of ‘Bowie Bonds’.
In other words, Bowie realised he would have a steady stream of money coming in from the sale of his music but rather than wait for it to accrue, he sold the rights to the future earnings so he could withdraw a large cash sum there and then. This became known as ‘securitisation’.
Towards the end of the 1990s, the banks began to adopt a similar model but on a much much larger scale.
But instead of selling royalties in the case of Bowie, they began to sell on mortgages that they had loaned to their customers.
The premise was that the buyer of the loans would have a guaranteed income from the interest on the repayments and the banks would take an upfront cash sum in return.
Banks were lending out huge bundles of loans in the guise of contracts, giving the buyer the rights to the future repayments on those loans.
The problems began when loans were given to people who were then unable to pay them back. This caused many of these contracts to be rendered worthless and a lot of this bad debt had to be written off, causing the financial system to lose billions of pounds.
Did Bowie cause the credit crunch? No. But inadvertently he set the paradigm.
Icy Demons/a.P.A.t.T./Balloons – Performance of a lifetime! @ – THE KAZIMIER
Icy Demons/a.P.A.t.T./Balloons – Performance of a lifetime!
@ – THE KAZIMIER- May 14th
Icy Demons
Started by Bablicon’s Griffin Rodriguez (aka Blue Hawaii) and Man Man’s Christopher Powell (aka Pow Pow), Icy Demons are a genre-spanning hypno-rhythmic indie project borrowing heavily from electro, Krautrock, and prog rock, specifically its Canterbury subgenre. Rodriguez takes bass and vocal duties while Powell drums, and the two act as the primary ringleade
rs of the band, roping in a rotating circus of musicians from their home cities of Philadelphia and Chicago. Upon initiation into the group, members adopt aliases like Graveyard P, Young Master Schneider, Ta-Freek-Ya, and the Diminisher. Cloud Recordings, a label with close ties to Elephant 6, another collective-friendly band of brothers, took a liking to Icy Demons’ first record an
d released Fight Back! in 2004. Between touring with their respective groups and recording albums for other musicians at Rodriguez’s Shape Shoppe studio, Rodriguez and Powell found time to piece together their second Icy Demons album, Tears of a Clone, in 2006, which was released by Eastern Developments. To add to their musical endeavors and house their creative output, the two started a record label called Obey Your Brain, and released Miami Ice in April of 2007. Plans followed to play live shows as a touring band with guitarist Russell Higbee of Man Man, guitarist Jeff Parker of Tortoise, upright bassist Josh Abrams of Prefuse 73 and Sam Prekop, and atmospheric improviser and cellist Tomeka Reid, in support of Slint and Arcade Fire, and as a main stage act at the 2008 Pitchfork Music Festival. Miami Ice was reissued that summer.
www.myspace.com/icydemons
www.icydemons.com
a.P.A.t.T.
a.P.A.t.T. sound like the best bits of eveything you’ve ever heard. File next to ABBA / Zappa. Completely original bewildering 2-7 piece band using all the genres possible to create a daft yet beautiful mess. Running all over stage whilst swapping instruments. Eclectic dosn’t cover it.
“To hear a.P.A.t.T.or more specifically their ‘Back and white mass’ full length album is to experience a musical odyssey like no other, avoiding the usual pragmatics of pop, they are a law unto themselves” -M Barton.
2009 = Prepare for the village idiots of pop
www.apatt.com
www.myspace.com/apatt
Balloons
There are five of them and they call themselves Balloons, beyond that we know nothing except that on the evidence of these showcased cuts they sound like they’ve been overly tucking in to the kaleidoscopic sherbet over the festive season concocting and cobbling deliriously skewed sounds that sound for all the world like wired road kill resulting from a head on collision between early career Sparks, Cardiacs, Devo and ‘SF Sorrow’ era Pretty Things
www.myspace.com/wereballoons
PLUS POST MUSIC DJ’s
£5 entry
8:30pm doors
9pm first act prompt
CHEAP ENTRY FOR GROUPS
OF FIVE PEOPLE FOR £20.
(5-4-20)
THE KAZIMIER
4-5 Wolstenholme Square
Liverpool
L1 4JJ
United Kingdom
ANYONE WISHING TO HELP WITH MEDIA COVERAGE OR OR HELPING OUT IN ANY WAY PLEASE GET IN TOUCH
Liverpool has always had a long lineage of musicians and artists. In fact, there can’t be many people who aren’t aware that Liverpool’s artists have reached the coverted Number 1 spot in Britain more than anywhere else. Well whoop-de-doo!
What on Earth does that mean ? We have better P.R. companies ? Better haircuts ? What’s the relevance?
Who knows! What I do know is that there is large amount of music being made in Liverpool that will never sink into ‘average Joe’s’ CD collection.
Music that seems to be intrinsically trying to put the listener off can only be liked to a threshhold point by the normal music listening public!
So, there must be something that binds a lot of bands together in Liverpool; well, progressive is one aspect…hmmm and it’s safe to say that simply the music MUST must be a little Wonky.
Wonk may refer to:
Wonk, slang for a person preoccupied with arcane details or procedures in a specialised field
Wonky may refer to:
Wonky, slang for off -kilter. Wonky face , Wonky throat etc
What else could these bands have in common? It’s safe to say all the bands embrace a DIY ethic. However, it’s not something to be surprised by, and it’s not just complementary to the music but indicative of it.
This is a collection of the Liverpool practitioners of Wonk and their goods!
. “There’s a kind of bullishness to just DO stuff. Everyone seems to be always scheming things which is a very healthy sign. Of course, there’s the occasional whinger but they seem to be outvoted by those who just go out and grab some action – that’s very inspiring sometimes.” -Shooman, Spank
“This is for us, this is ours, this is what we’re going to do, so some sponsor is not part of what we’re involved in.”
- Foxy, SS
“The minute we started it, it was slightly anti-music or something like that, but it’s absolutely guaranteed, set on, to be our life’s work, whatever goes on with it, this is what we’re going to do, even if it’s just goes back to giving out CD-Rs to our friends or something. And it’s me learning, the band learning, it’s us all learning together, and that’s why we enjoy it loads.”
-GM, a.P.A.t.T.
“We try to make what we consider to be good pop music with a progressive mindset. We like to make music which is melodic, innovative and sometimes needlessly complicated”
-Indica Ritual
“Crazy noise, granted, but nothing quite prepares for the flamenco-featuring random meandering, enthusiastically ploughing through unhinged rhythms, bewildering Henry Mancini-isms and Mclusky spikiness” .Rum N Brass. Dis. A semi-abandoned café, bring your own booze, donation entry, crusties, arties, old men with harps. THIS IS THE UNDERGROUND MUTHAFUCKERS.The Stig Noise Soundsystem start as we’re likely to go on with intense, overwrought sounds. Based around brass and drums, it’s a fast improvised exploration of something approaching tribal doom jazz. As they batter their instruments with force and feeling, there’s odd wonderfully brain-searing moments. Class A Audio. - Drowned In Sound.com About Stig Noise Sound System
Already by the 19th century, Liverpool was a centre of musical innovation, in particular the development of the sea shanty. Many shanties specifically refer to Liverpool, such as “Heave Away”, “Liverpool Judies”, and “Maggie May”, which was later performed by The Rutles.
“A gleeful, Technicolour zombie stomp through the dark, B-movie underbelly of music. And if you don’t like the sound of that, well, you’re clearly too alive”
- Drowned in Sound about Zombina & the Skeletones
Let’s simply list more of these D.I.Y. timewasters shall we :
