I had a lovely recording session with Mauricio Proano aka Domingo Cantinas and his lovely daughter last week.
I had the pleasure of recording Servane Mary, Jose Martos, and Gianni Jetzer, for Servane’s contribution to a group show next week in France. Servane chose the song Lili Marleen, written first as a poem in 1915 by Hans Leip and latter set to music by Norbert Schultze in 1938. The song has been widely called the most popular song of World War Two, and has been recorded and re-recorded ever since. While made popular by a German broadcast from Radio Belgrade, singer Lale Anderson’s version, became anthem for soldiers on all sides of the conflict, from North Africa to Leningrad. Marlene Dietrich popularized the song which became a staple of her shows until the day she died. In the past 70 years the song has been translated into English, Spanish, Danish, Japanese, and many other languages. It is a simple and poignant love song of love and war, longing and hope.
I’m very fond of Servane’s version recorded in my art studio a few weeks ago, and I’m happy to add her ink-jet on safety blanket edition(10 total) to the Never Records Library.
Here is an interesting BBC short about the song which includes a British propaganda version of the song.
Here is the unabridged interview from my correspondence with UK based writer Dan Wilkinson about the Forest Swords’ project Ground Rhythms.
Special thanks to Andrew Ellis and Forest Swords for letting me be a part of the project.
I was wondering if you’d be able to tell me about any of that history that you’re aware of?
My knowledge of the history is very cursory, however my experiences may shed a little light. For example, the guys that make MY lathe, one of the only new models available of lathes, started as jukebox repairmen who were responsible for maintenance of the machines as well as stocking the machines with records. They grew tired of spending money on records and decided to build a machine that could bootleg the records. After 10-15 years of development, they not only produce these machines but they also produce the plastic blanks. Their amazing blanks are highly coveted but rather expensive so there is a lot of “corporate espionage”, other cutters trying to find out where the blanks are made so they can buy direct.
This alludes to the number one problem the Soviet cutters had, where to get blanks? You can cut sound waves onto any flawlessly smooth and completely flat surface of any material that has just the right softness. Too much friction would create too much drag on the stylus as it moves across the surface of the blank, any bumps or imperfections may cause the needle to jump and break which would ruin the cut and and the cutter diamond. My sense is that a lathe cutter was on the hunt for blanks and had access to X-rays. After some experimentation he/she realized that X-rays were a perfect blank.
Now you have to understand that Lathe cutters are a rare breed, a combination of engi-NERD and music lover. Someone who stares at the seismic traces that music etches with a diamond. This is alchemical shit, I think of it as Magic and I am always in awe of piezo electric’s galvanizing forces. Its the stuff of heartbeats,ear drums, and fingerprints and alludes to other secret processes of nature that we have yet to learn.
All this said, Lathe cutters are also mischief makers, so I could easily see the soviet cutters as music traffickers trying to disseminate black market Rock and Roll.
Wanna learn more about the lathe cutting community? Dive in here http://www.lathetrolls.
Do you have an idea about what technique that was originally used?
It is certain the same science was used that is used today. It’s quite a simple and elegant technology. Two small speakers are capped with cones tipped with two small wires that focus the vibrations from the speakers to a diamond that is symmetrically placed. As the diamond drags across the surface of the blank it etches the vibrations of the speakers left/right up/down onto the plastic. Its that simple. Calibrating the speed, the volumes, the perfect weight of the cutter head, preparing the audio…all of this can take a lifetime to learn, guys like Detroit’s Ron Murphy are legends http://www.metafilter.
I consider myself a hack, but I have cut over 900 records in the last four years so I can make it work.
It is important to know that every record that has ever been made has started with a CUT. Someone had to create the master plate from which molds were made and then PRESSED. This is an important distinction.
Do you have an idea about the quality of the records?
In some cases I’m sure the quality was tantamount to normal records. Those old flexi-disks that came with magazines sounded pretty great to my teenage ears. As far as longevity, it depends on how good(how sharp and hard)your playback stylus was, how the x-rays held up over time, but I think it was a viable way to disseminate music.
Or the type of music that was used in the process?
I’ve only heard about this in relation to the Beatles, but that’s probably a romanticization of rock and roll and censorship in the Soviet era. I can guarantee anything was cut that could be sold in high demand. My sense was that this was as entrepreneurial as much as it was a form of underground protest and rebellion.
How exactly was it difficult to recreate the process?
For the Forest Swords project we had an extremely difficult time. I broke a 300 dollar diamond. Andrew Ellis and I learned that modern x-rays are flimsy and coated with a very sticky emulsion that undermined the cutting process at every turn. Older X-rays were thicker and more durable and much more amenable to the process. I had to adjust the weight of the cutter head and as it was we could only get what I consider a light cut. Our goal was not to get a perfect sounding X-ray record but to get a mystical object where the process and the idea created an alchemy that affected the sound. So it sounded strange, and by a master cutter’s standards horrible, but for Forest Swords it illuminated a transcendental approach to music making and, as such, it looked and sounded haunting.
What attracted you to the process in the first place?
I am always looking for mystical ways to produce sound. During the London Never Records Touch recording artist BJ Nilson and I made a record of the lathe cutting itself live by clamping a piezo disk to the machine. We then fed the sounds of the machine cutting itself back through the machine live. I think we were hoping green men would jump out of a rip in time.
Recently I collaborated with Brian House on this amazing object http://vimeo.com/
and lastly I collaborate with sound artist Phillip Jeck. We perform live and I cut the performance real time feeding him the freshly cut vinyl which he works his turntable magic upon, I record and play guitar to that, the process is repeated and Phil takes on the nautilus roller coaster to some aural space deep into the music and the moment. Nice write up here http://www.audiostream.
Do you feel that “bone music” as a format has a future?
As artists like Dario Robleto, Christian Marcalay continue their explorations with art,memory, music, and time I’m sure we will see this come up again and again. I know I will revisit.
But there is also a legion of talented designers and idea men and women who are playing with vinyl formats: Andrew Ellis of course of Samizdat(the man behind the idea of the Forest Swords X-ray record), Jack White’s Third Man Records, and Sam Wiehl who works with Forest Swords…so we will always have this play and manipulation of the format.
Has there been an even more usual format than X rays for vinyl?
There are many amazing projects like musical roads(different principle but involves friction and frequency)
and I came across a guy on Lathe trolls trying to cut sound onto glass bottles. I’m sure he’ll do it too.
a follow up e-mail…..
So good luck with the article I hope I’ve been a help filling in some of the background of the process and maybe a little insight into the Soviet situation. I’m working on a Never Records in Folkstone for April, and possibly another in London in the next year so maybe you can come check out cutting in person. Bring some x-rays and we’ll cut away.
Of guns, and drums, and wounds—God save the mark!—
And telling me the sovereignest thing on earth
Was parmacety for an inward bruise,
And that it was great pity, so it was,
This villanous saltpeter should be digged
Out of the bowels of the harmless earth,
Which many a good tall fellow had destroyed
Henry IV, William Shakespeare
Though burnt, cut, and smashed, these reclaimed guns from the New Orleans Police Department possess a potential power. Covered in soot and oil, heavy to hold, mute, they have a “sinister resonance”, to borrow a phrase from writer David Toop. We are caught between the last echo of their discharge and eternity, an echo away from the startling moment a gun is fired.
So what to do with these accursed objects? How do we cleave this “confiscated evidence” from the crimes that they have been used to commit?
I think of a famous photograph, Bernie Boston’s “Flower Power”, which depicts a hippie placing carnations in the gun barrels of military policemen during a 1967 anti-Vietnam protest at the Pentagon in Washington, D.C.. The act of adorning the guns with flowers symbolically strips the MP’s power to intimidate.
As an artist, I traffic in sound and imagery. As a musician, I am always concerned with evoking meaning through music.
As sound effects for films, drums and percussion have often been used by Foley Stage artists to represent the sounds of war. A snare drum might be used to enhance the sound of a machine gun, a de-tuned kettle drum an explosion.
In a lecture on editing sound for film, Oscar winner Walter Murch(Apocalypse Now, The English Patient, Cold Mountain) says, “You think about it, every language is basically a code, with its own particular set of rules. You have to understand those rules in order to break open the husk of language and extract whatever meaning is inside…Sound, in this case, is acting simply as a vehicle with which to deliver the code…Music, however, is completely different: it is sound experienced directly, without any code intervening between you and it. Naked. Whatever meaning there is in a piece of music is ‘embodied’ in the sound itself.”
Instead of flowers, I place drum mallets into the barrels of guns, with the hope that by repurposing them as musical instruments, I can is some way channel the echo from when the guns were fired into something constructive, something creative.
As drum and bugle corps throughout history have led soldiers to battle, the trope “drums of war” has been in use from Greece to the Civil War to Syria. What of turning weapons into musical instruments instead of ploughshares? Can we imagine these symbols of violence as instruments of music and by doing so imagine peace?
They can steady the coffin
of a constellation on their shoulders.
They can wreck
the air like furious birds,
blocking out the sun.
But not knowing these gifts,
they enter and exit through mirrors of blood,
walking and dying slowly.
one cannot forget them.
an excerpt from Roberto Sousa’s The Poor
I hid at the edge of the porch next to the seated ranchero with lustrous spurs. A group of sorority girls crowded my view of the boy whose grandmother had begged us to visit. He lay on a blanket, legs splayed apart in the impossible arabesque of cerebral palsy.
We volun-tourists were getting our money’s worth in the dusty red mountain village of Nuevo Paraiso, and I felt all the paradoxical emotions, the condescension, the prejudices, the impossible empathy of a 1st Worlder with 1st World concerns dunked into this foreign reality. I felt the ingrown ache of guilt as it curled back under my skin, and for those first few moments, I was ashamed. Ashamed, until I saw what the boy was doing.
Partially blind, he was compulsively twirling a red plastic coffee lid in front of his eyes, like some desperate senior trying to read the fine print on a life saving prescription bottle. The light refracting through the spinning lid was his Rosary, a kaleidoscopic meditation. In that instant, I, the Figurative Realist, understood Color Field and Abstract Expression.
“Life is but a dream…” the girls sang. Row Row Row Your Boat was the only song they could come up with after they balked at a familiar hit by Adelle. I felt like I was dreaming, or was this sensation an eerie dis-temporal epiphany that I was in the chorus on the edge of someone else’s dream, the glowing red hypnogagia of a poor disabled teenager on the side of a mountain in Honduras.
As a second and then a third round of that old minstrel song intertwined, so did our waking dreams enmesh.
I’m proud to announce the release of a new limited edition of HOLYMAN’s double album opus called Things We Can’t Untie. The record was recorded live in my living room, and has become one of my favorite pieces of music. I like to describe HOLYMAN as John Cage meets Mogwai with a pedal steel soloist.
Pat Foley, the composer behind the project, writes, “Things We Can’t Untie attempts to delve into the depths of self-consciousness and take the listener on a journey of realization. The ominous pedal steel melodies and roving-and-converging drum work drag you along, as if blind folded, toward some unknown destination, causing your mind to wander to the edges of possibility. The swirling banter can absorb you if you let it, and you can easily forget about the ghostly net created by the spare repetition of the guitar and bass, holding you afloat in a sea of thoughts.”
You can download the full album for free(or make a donation) on Pat’s Bandcamp page.
The double album features artwork by my dear friend Jeff Beebe made specially for this record and printed as a giclee on cotton rag paper. Every record comes with a small baggie of record off-cut from the session, 100 percent pure groove.
Currently we have one copy left. So if anyone wants to purchase the last available album email me at email@example.com .
HOLYMAN Things We Can’t Untie is an edition of 10 with 2 artists proofs.
Musicians: Patrick Foley-Guitar, Alex Lambert-Drums, Tim Reardon-Bass, Philip Sterk-Pedal Steel
Special thanks to Jason Wyche for the photography.
[bandcamp width=350 height=470 album=2618759906 size=large bgcol=ffffff linkcol=0687f5 notracklist=true]
Its been two years now since New York artist Ted Riederers’ NEVER Records came to these shores for the 2nd installment in Derry, Northern Ireland. On this occasion in May 2011, he was joined by friend and photographer Jason Wyche who felt that this project might provide the perfect platform for an exploration into film making and video, and together over the following weeks they set out, Ted recording the community and cutting the sounds and audio to vinyl and Jason documenting the proceedings and performances in visual form. Over the following time till now they have lovingly edited all the footage and created a film documentary, detailing the process, effect and joys that NEVER’s visit to Derry had, entitled ~ NEVER Records “You Are Not Listening”.
After premiering the finished film in April 2013, Stateside at the Victoria Film festival in Texas, winning ‘Best of Fest’ award, the guys deemed it only right to return to the U.K to reconnect with friends and collaborators and show the film at choice venues along the way. With a lack of funding available the guys bravely decided in true DIY spirit, to just come across anyway and what came about in the planning of a few independent screenings, then became whats best described as a mini-tour road trip. With film screenings and live shows planned at Liverpool, Derry and Belfast, we arranged to meet at Manchester airport and make the journey, 5 man strong including girlfriends/wives, in my small trusty motor from town to town via ferry to Ireland.
First up, was Liverpool. This was where NEVER Records first touched ground in September 2010, cutting records after an initial display in New York’s abandoned Tower Records building, and was also where i first met Ted, whilst living there. Andrew Ellis (samizdat) who helped so much in making the original visit a success, arranged for the screening and live sets at the ( in my words ‘epic’) Camp & Furnace bar/project down on Greenland Street and our talented friend Helen Weatherhead who works as assistant producer at Radio 6, and interviewed Ted first time around for a great article, arranged for some great promotion in the form of an interview and radio ad which went out the next day on the airwaves.
We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
Through the unknown, unremembered gate
When the last of earth left to discover
Is that which was the beginning;
At the source of the longest river
The voice of the hidden waterfall
And the children in the apple-tree
Not known, because not looked for
But heard, half-heard, in the stillness
Between two waves of the sea.
Quick now, here, now, always—
A condition of complete simplicity
(Costing not less than everything)
And all shall be well and
All manner of thing shall be well
When the tongues of flame are in-folded
Into the crowned knot of fire
And the fire and the rose are one.
T.S. Elliot, from Little Gidding, Four Quartets.
It is impossible to accept that Arturo is gone.
Two weeks after his death, I am stumbling through my memories of him. I catalog them and try to refresh each one in the hopes that by doing so they will last longer, that I can somehow prolong the afterglow of remembrance. I go through a hard drive of photographs searching for his face, and wish that there were more images.
Rose told me not to read his obituaries, but I can’t help myself. I’m searching for the man I knew, and through it all I have this urgent need to testify, even though I’m afraid I won’t get it right, afraid I won’t be able to articulate how special he was.
“Ramones Logo Designer”-The Ramones was only one expression of the man I knew. I have a feeling Arturo gave them the same nurturing love that he gave the dozens of young artists he adopted in the last ten years. We were so lucky to have him believe in us. As we aspired to earn his faith in us we became better artists, and better friends. I would visit the loft, and over the course of an hour, become reacquainted with an old friend, catch up on all of the projects of another, or even meet someone new, another orphan Arturo had adopted.
New York makes orphans of us all. It dazzles us, confuses us, and hammers us, skews our sense of what truly matters, sucks our time and energy away from those who love and need us. Through it all, above the din of this wretched and beautiful city, Arturo was a beacon of love. In spite of the fact that he had loved and lost so many friends and family members, he was adamant that we must love each other more. His mural on the side of Oliver’s shop near the Bowery, declares, “Life Isn’t Tragic. Love is just being ignored.”
It is impossible to accept that Arturo is gone.
He was one of my most vital and vivacious friends. One night in London, when I wanted to sleep, he dragged me to a barge on the Thames at three in the morning where we salsa danced, and sang, and drank tequila. Hours later at sunrise, back at our hotel, he jumped on his bed and exclaimed, “let’s stay up late, I want to enjoy this trip.” ( He was one of my fittest friends, he started mountain climbing when he turned sixty. )
His art career was energized. With shows in England, Europe, Mexico, and New York, in the past few years he was getting the attention he deserved, not just as The Ramone’s designer, but as an important artist who was a contemporary of Hambleton, Haring, and Basquiat, an artist who still had so much to teach us all.
The second to last time I spoke with him he begged me, “Enjoy your life.” It was shocking to hear that from him, I think I was in denial about how sick he had become. In retrospect, I think he was coming to grips with the gravity of his situation, but also trying to teach me one last lesson, because he so passionately wanted us all to love life.
Heartbroken and afraid, I responded, “My life has been so much more enjoyable because you are in it.”
The amazing Joe Reyna, one of Victoria’s greatest treasures. So lucky to have him a part of Never Records.