Just bought a copy. At first glance, it's fucking awesome.
Anyone read it?
Spaceman 3 by Erik Morse
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jamesj1986
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Ian
That's hardly fair. If you stick all the bits about sexuality together, I doubt that it would take up one page. Whereas Erik disects the music at some length (and tends to get a bit carried away, especially when talking about The Perfect Prescription).jamesj1986 wrote:One of the most worrying things about the book is that the writer seems to care as much about how Jason and Sonic were (supposedly) bisexual as he does about the music.
Love,
Ian
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good dope/good fun
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AcepHale, Inc.
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thank you for your attention here--
I'm glad some have enjoyed the various riffs, rants, and gaffs that fill up the book--must say I continue to stand by the opening chapter as it was the most elemental and cathartic experience during the three year writing process--admitedly, I was a bit carried away with merging Deleuzian/Baudrillardian argot with the 'sounds' of drone-rock and its extra-literary lineage of iconoclasts and schizoids...
e.g. the influence of noise (as necromancy and time-travel, respectively) upon twentieth century literature in the novels of Roussel and Burroughs and obversely the aesthetic/primal weight of the Dreamweapon performance which is reminiscent of something like Artaud's radiophonic 'To Have Done With The Judgement of God' or Russolo's intrarumori (sic?--noise machines)--BBC Workshop, development of the jet-engine, holography, CND rallies, Joe Meek, Barrett, the micro-tonal, the radioactive, etc. etc.
the intent to point beyond the immediate and somewhat limiting purview of the traditional 'rock narrative' (record, tour, record, fame, resentment, fallout) toward something more, forgive the obscure expression, schizophonic was simply to allow Spacemen 3 their necessary place as archivists (or composers or artisans or alchemists) of a certain noise magik...or maybe it's just because I was holed up in an underground bunker in Queens for a year with EAR and Fennesz keeping vigil...
erik
I'm glad some have enjoyed the various riffs, rants, and gaffs that fill up the book--must say I continue to stand by the opening chapter as it was the most elemental and cathartic experience during the three year writing process--admitedly, I was a bit carried away with merging Deleuzian/Baudrillardian argot with the 'sounds' of drone-rock and its extra-literary lineage of iconoclasts and schizoids...
e.g. the influence of noise (as necromancy and time-travel, respectively) upon twentieth century literature in the novels of Roussel and Burroughs and obversely the aesthetic/primal weight of the Dreamweapon performance which is reminiscent of something like Artaud's radiophonic 'To Have Done With The Judgement of God' or Russolo's intrarumori (sic?--noise machines)--BBC Workshop, development of the jet-engine, holography, CND rallies, Joe Meek, Barrett, the micro-tonal, the radioactive, etc. etc.
the intent to point beyond the immediate and somewhat limiting purview of the traditional 'rock narrative' (record, tour, record, fame, resentment, fallout) toward something more, forgive the obscure expression, schizophonic was simply to allow Spacemen 3 their necessary place as archivists (or composers or artisans or alchemists) of a certain noise magik...or maybe it's just because I was holed up in an underground bunker in Queens for a year with EAR and Fennesz keeping vigil...
erik
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a beautiful noise
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BzaInSpace
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just curious whats with obsession with the word titular?
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Detroit, Music, Sports and Other Stuff(including Spiritualized, Spacemen 3)
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twentysixdollars
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AcepHale, Inc. wrote:thank you for your attention here--
...or maybe it's just because I was holed up in an underground bunker in Queens for a year with EAR and Fennesz keeping vigil...
erik
EAR? no other explanation necessary. that first chapter was EAR on paper, and the rest of your book was pure SP3...
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AcepHale, Inc.
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just another quick note/comment/question: I've seen very little written about Fennesz on this forum--am I wrong to assume that he is dismissed as an ultra-celebral, knob twiddling (or button pushing), Teutonic left-fielder? or Mark Clifford (i.e. Seefeel)? two of the most entrancing soundscape artists in that post-rock(y), post-S3 milieu of drone/phased/flanged 'ecstasy symphony'-style arm-chair ambience, the former incorporating a glitchy, laptop MBV noise into computerized sheets of micro tonality and the latter using heavy heavy King Tubby dub and stretching it digitally into some kind of cinematic trance sound, c.f. Portishead--what's most fascinating about their musical progressions seems to proceed from their past roles as indie rock guitarists--not DJs like Alex Patterson or Autechre dudes, not performance artists like DJ Spooky or Scanner, and not Harry Partch weirdos like AFX Twin--essentially they both came upon their sounds playing 'noise' guitar in the vein of Kevin Shields and Sonic and expanded into the digital realms while maintaing their electro/acoustic instrumentation--
is it possible that the closest followup to the lush, rotary cine-scapes of Repeater/Ecstasy Symphony/Let Me Down Gently is not the shoegazers but 'Endless Summer'?...they're all supposedly dedicated to Brian Wilson--
just curious is all--
erik
is it possible that the closest followup to the lush, rotary cine-scapes of Repeater/Ecstasy Symphony/Let Me Down Gently is not the shoegazers but 'Endless Summer'?...they're all supposedly dedicated to Brian Wilson--
just curious is all--
erik
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a beautiful noise
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I listened to the most recent Fennesz album, Venice, and found it incredibly boring. Personally, I feel that Aphex Twin’s ambient work is far more interesting. However, I do admit that Venice is the only Fennesz album I’ve heard. Perhaps you can recommend others that are better?AcepHale, Inc. wrote:just another quick note/comment/question: I've seen very little written about Fennesz on this forum--am I wrong to assume that he is dismissed as an ultra-celebral, knob twiddling (or button pushing), Teutonic left-fielder? or Mark Clifford (i.e. Seefeel)? two of the most entrancing soundscape artists in that post-rock(y), post-S3 milieu of drone/phased/flanged 'ecstasy symphony'-style arm-chair ambience, the former incorporating a glitchy, laptop MBV noise into computerized sheets of micro tonality and the latter using heavy heavy King Tubby dub and stretching it digitally into some kind of cinematic trance sound, c.f. Portishead--what's most fascinating about their musical progressions seems to proceed from their past roles as indie rock guitarists--not DJs like Alex Patterson or Autechre dudes, not performance artists like DJ Spooky or Scanner, and not Harry Partch weirdos like AFX Twin--essentially they both came upon their sounds playing 'noise' guitar in the vein of Kevin Shields and Sonic and expanded into the digital realms while maintaing their electro/acoustic instrumentation--
is it possible that the closest followup to the lush, rotary cine-scapes of Repeater/Ecstasy Symphony/Let Me Down Gently is not the shoegazers but 'Endless Summer'?...they're all supposedly dedicated to Brian Wilson--
just curious is all--
erik
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AcepHale, Inc.
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I have not heard 'Pooka' although after reading the description/critique of it on various websites I am intrigued--is it worth locating in your opinion? my most recent acquisition in the IDM/Euro ambient/Mego-style is Pluramon's 'Dreams Top Rock' featuring Julee Cruise (Twin Peaks chanteuse who did an incredible LP in the early 90s with Lynch and Angelo Badalamenti called ‘Floating Into the Night’) although ’DTR’ is less Fenneszian and more programmed/processed mixes of straight shoegazing pop-- ‘Pooka’ on the other hand seems to be a multi-instrumentalist, digital one man band sound (an electronic Skip Spence or Hasil Atkins) with spurts and cracks and bleeps underneath, right? Similar to chamber-pop bands like Rachel’s maybe or soundtrack music/Exotica?
Interesting that, because it shows the ineluctable attraction between Electronica (which, pre-disco/dance, was traditionally situated on the musical spectrum somewhere along the extreme right as cold, cerebral, depersonalized, Occidental, logocentric, Apollonian, high) and Exotica (the extreme left: warm, ’unsophisticated’ and carnivalesque, dictated by passions, Oriental or at the very least marginalized, aphasic, Dionysian, low)--
David Toop wrote an entire book on the topic although I have yet to read it--anybody had a chance to check it out?--Although the term ‘Exotica’ is somewhat ambiguous and therefore prone to the jargon-y ramblings implicit to ‘genre theory‘ (e.g. fetishizing the Other, pastiche-as-art, art brut, etc.) I think its precepts highlight some of the more interesting connections/investigations launched by rock/pop musicians in the rapidly mutating world of sound technology--Joe Meek’s 1959 ’I Hear A New World’ album is probably the best exampling of this linkage b/t electronics (the phonocentric, the centralizing) and bizarro (the schizophonic, the Other): the constant interplay between ’camp’ in Meek’s use of Hawaiian guitars and speeded up chipmunk vocals and his 'scientific' manipulations of noise and technology with the Clavoline, close miking, phase separations--or, contradistinctly, the late 50s home recordings of brilliant bumpkin Hasil Atkins, whose Luddite one-man band concept came from mistakenly believing Elvis’ Sun Sessions were ’live’ recordings of said musician playing all instruments at once--but even with his shoe-string budget and war-surplus gear, Atkins was able to create through tape hiss, guitar distortion, and haunting vocals a kind of textured atmosphere that verged on the schizophonic-- several of his ‘musical’ numbers are just that: tape-hiss and screeching, sounds more like the glossialia (sic?) of Artaud--much as other bands/artists like United States of America, White Noise (first LP), Silver Apples, Fifty Foot Hose, John Cale (Loop), Perrey-Kingsley, Delia Derbyshire, Syd Barrett, the Moog LPs, Arthur Lyman (used the theremin and ‘third world’ rhythms extensively), obscuro tracks like Freddie and the Hitchhiker’s ’Sinners’ (more theremin), Danny Elfman, Eno/Byrne, et. al, have endeavored to implode the difference between the ‘Truth‘ of acoustic sound and the Outsider via recording technology-- to bring it back around to Spacemen 3, even Sonic’s ’Forever Alien’ was Exotica in that it referenced the hyper-analogue/sci-fi gleanings of Clara Rockmore and BBC Workshop more than any contemporary genre of Electronica--
as for Fennesz, I was slightly non-plussed by ’Venice’--I think ’Endless Summer’ or ’Field Recordings’ collection (particularly effective as it draws from his earliest guitar-based tape-loop compositions to the lush, laptop works) are the best places to start--he has also done numerous collaborations with David Sylvain which are a bit more digestible for their inclusion of vocals and recurring melody--also Brooklynite William Basinski’s Disintegration Loops, a multi CD set of extremely spare ambience that has been name-checked quite a bit given that it was ‘recorded’ during the Trade Center attacks--
erik
Interesting that, because it shows the ineluctable attraction between Electronica (which, pre-disco/dance, was traditionally situated on the musical spectrum somewhere along the extreme right as cold, cerebral, depersonalized, Occidental, logocentric, Apollonian, high) and Exotica (the extreme left: warm, ’unsophisticated’ and carnivalesque, dictated by passions, Oriental or at the very least marginalized, aphasic, Dionysian, low)--
David Toop wrote an entire book on the topic although I have yet to read it--anybody had a chance to check it out?--Although the term ‘Exotica’ is somewhat ambiguous and therefore prone to the jargon-y ramblings implicit to ‘genre theory‘ (e.g. fetishizing the Other, pastiche-as-art, art brut, etc.) I think its precepts highlight some of the more interesting connections/investigations launched by rock/pop musicians in the rapidly mutating world of sound technology--Joe Meek’s 1959 ’I Hear A New World’ album is probably the best exampling of this linkage b/t electronics (the phonocentric, the centralizing) and bizarro (the schizophonic, the Other): the constant interplay between ’camp’ in Meek’s use of Hawaiian guitars and speeded up chipmunk vocals and his 'scientific' manipulations of noise and technology with the Clavoline, close miking, phase separations--or, contradistinctly, the late 50s home recordings of brilliant bumpkin Hasil Atkins, whose Luddite one-man band concept came from mistakenly believing Elvis’ Sun Sessions were ’live’ recordings of said musician playing all instruments at once--but even with his shoe-string budget and war-surplus gear, Atkins was able to create through tape hiss, guitar distortion, and haunting vocals a kind of textured atmosphere that verged on the schizophonic-- several of his ‘musical’ numbers are just that: tape-hiss and screeching, sounds more like the glossialia (sic?) of Artaud--much as other bands/artists like United States of America, White Noise (first LP), Silver Apples, Fifty Foot Hose, John Cale (Loop), Perrey-Kingsley, Delia Derbyshire, Syd Barrett, the Moog LPs, Arthur Lyman (used the theremin and ‘third world’ rhythms extensively), obscuro tracks like Freddie and the Hitchhiker’s ’Sinners’ (more theremin), Danny Elfman, Eno/Byrne, et. al, have endeavored to implode the difference between the ‘Truth‘ of acoustic sound and the Outsider via recording technology-- to bring it back around to Spacemen 3, even Sonic’s ’Forever Alien’ was Exotica in that it referenced the hyper-analogue/sci-fi gleanings of Clara Rockmore and BBC Workshop more than any contemporary genre of Electronica--
as for Fennesz, I was slightly non-plussed by ’Venice’--I think ’Endless Summer’ or ’Field Recordings’ collection (particularly effective as it draws from his earliest guitar-based tape-loop compositions to the lush, laptop works) are the best places to start--he has also done numerous collaborations with David Sylvain which are a bit more digestible for their inclusion of vocals and recurring melody--also Brooklynite William Basinski’s Disintegration Loops, a multi CD set of extremely spare ambience that has been name-checked quite a bit given that it was ‘recorded’ during the Trade Center attacks--
erik
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jacksmiley
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it's intonarumori. we used it as a track title on our last record & it took me several tries to get it spelled right when i was putting together the packaging so now it's cemented in my brain pretty well.AcepHale, Inc. wrote: Russolo's intrarumori (sic?--noise machines)--
unlike those who don't realize
we are here
on the verge of perishing;
those who do,
their quarrels are stilled.
--dhammapada
we are here
on the verge of perishing;
those who do,
their quarrels are stilled.
--dhammapada
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AcepHale, Inc.
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Seefeel creates a uniquely soporific noise (wonderful for late-night 'deep' listening), one of the great unknowns from the post-indie 90s--they were originally included in Simon Reynolds' 'Shaking the Rock Narcotic' article, which is archived on The Wire website, http://www.thewire.co.uk
a few sample bits from Seefeel's back catalogue can be found at music.hyperreal.org/artists/seefeel Mark's a nice fellar and any way I can help out his cause would be my pleasure--most of Seefeel's LPs are now deleted but you can still find the Polyfusia comp on Astralwerks and some of their best remixed tracks on AFX's Mixes for Cash (Time To Find Me Slow and Fast Mix) compilation--Fennesz' site is appropriately http://www.fennesz.com
just for a lark, you might wanna also click over to Ubuweb for a bit of the ol' schizophonica: http://www.ubu.com/sound/artaud.html, the recording of 'Pour Avec...Dieu' and everything else from Laurie Anderson mp3s to writings by Slavoj Zizek
back down the rabbit hole then...
erik
a few sample bits from Seefeel's back catalogue can be found at music.hyperreal.org/artists/seefeel Mark's a nice fellar and any way I can help out his cause would be my pleasure--most of Seefeel's LPs are now deleted but you can still find the Polyfusia comp on Astralwerks and some of their best remixed tracks on AFX's Mixes for Cash (Time To Find Me Slow and Fast Mix) compilation--Fennesz' site is appropriately http://www.fennesz.com
just for a lark, you might wanna also click over to Ubuweb for a bit of the ol' schizophonica: http://www.ubu.com/sound/artaud.html, the recording of 'Pour Avec...Dieu' and everything else from Laurie Anderson mp3s to writings by Slavoj Zizek
back down the rabbit hole then...
erik
I saw Seefeel support Spiritualized at Derby University one year. I'd never heard of them before but they totally blew me away.
I remember we were sat down on the floor for them, but it may have been in the "sit-down" days of going to see Spiritualized. Anyway, i went out and bought some of their stuff very quickly afterwards. Top track for me is "Climactic Phase #3"
(I seem to remember Spiritualized being awesome that night too. Just as they were when a potent Mercury Rev preceded them on one tour. I think it acts as a spur and they should do all-powerful double bills more often.)
I remember we were sat down on the floor for them, but it may have been in the "sit-down" days of going to see Spiritualized. Anyway, i went out and bought some of their stuff very quickly afterwards. Top track for me is "Climactic Phase #3"
(I seem to remember Spiritualized being awesome that night too. Just as they were when a potent Mercury Rev preceded them on one tour. I think it acts as a spur and they should do all-powerful double bills more often.)
Just thought I'd comment on the book- its fantastic. Very thorough and very enlightening. Did Jason contribute to it? It doesn't seem like he did, at least not much. Regardless, the author seems to intent on offering a well-rounded perspective from everyone which is refreshing. Pete Bain seemed a bit bitter though.
Jason didn't contribute to the book, although I believe Erik Morse did meet with several times backstage and he was made aware of it's creation and offered a chance at adding his perspective of events. Perhaps he is still reluctant to match Sonic "bitch for bitch?" Regardless, I though Erik Morse did a wonderful job and Jason probably fared better than everyone else. Everyone, including Sonic, seemed to... well, like him.
And for the record, I found the DreamWeapon bits quite extraordinary, if not a little difficult for my little brain to fully grasp. A fine job, indeed.
Lux
And for the record, I found the DreamWeapon bits quite extraordinary, if not a little difficult for my little brain to fully grasp. A fine job, indeed.
Lux
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JonnyComelately
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will this do?
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I think that you must be a whole 12 months out of synch there my friend (well, nearly - I seem to remember if this was Sept '04 you'd still have had a few months to wait - it was quite soundly delayed back in the day)JonnyComelately wrote:new to the forum. Not sure what erik was going on about there. but I was curious when the book was coming out in the US. Saw date as end of September. Has anybody seen it yet.
jonny
Lipsmackin' thirstquenchin' acetastin' motivatin' goodbuzzin' cooltalkin'
highwalkin' fastlivin' evergivin' self aggrandizin' willthisdo?
highwalkin' fastlivin' evergivin' self aggrandizin' willthisdo?
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JonnyComelately
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[/quote]
I think that you must be a whole 12 months out of synch there my friend (well, nearly - I seem to remember if this was Sept '04 you'd still have had a few months to wait - it was quite soundly delayed back in the day)[/quote]
Sorry,, not sure if am mistaken. Under the impression it was coming out in the U.S.A. later since I didn't see it in any stores over here yet. Barnes And Noble and Amazon.com have it listed for Sep. 2005.
whatever.
I think that you must be a whole 12 months out of synch there my friend (well, nearly - I seem to remember if this was Sept '04 you'd still have had a few months to wait - it was quite soundly delayed back in the day)[/quote]
Sorry,, not sure if am mistaken. Under the impression it was coming out in the U.S.A. later since I didn't see it in any stores over here yet. Barnes And Noble and Amazon.com have it listed for Sep. 2005.
whatever.
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will this do?
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I don't know then. I got my copy in about April this year, and although our geographical dispersion MIGHT explain it, I'm fairly sure some Americans who type things here got their copies around then too (if not before - I was a bit tardy on that front myself).JonnyComelately wrote:will it do wrote:
I think that you must be a whole 12 months out of synch there my friend (well, nearly - I seem to remember if this was Sept '04 you'd still have had a few months to wait - it was quite soundly delayed back in the day)
Sorry,, not sure if am mistaken. Under the impression it was coming out in the U.S.A. later since I didn't see it in any stores over here yet. Barnes And Noble and Amazon.com have it listed for Sep. 2005.
whatever.
*looks down* PORKCHOP! You're an American, aren't you?
Certainly back in September 2004 some people were champing at the bit, and there was much wondering if it would ever come out.
Lipsmackin' thirstquenchin' acetastin' motivatin' goodbuzzin' cooltalkin'
highwalkin' fastlivin' evergivin' self aggrandizin' willthisdo?
highwalkin' fastlivin' evergivin' self aggrandizin' willthisdo?
i'll put money on it this book never comes out in the US. Thing that really sucks is its expensive as hell to ship a book overseas. There is no book rate. Postage is just based purely on weight. Do you have a Tower Records in the area? Sometimes they import books.
http://www.lilmoxie.com
Detroit, Music, Sports and Other Stuff(including Spiritualized, Spacemen 3)
Detroit, Music, Sports and Other Stuff(including Spiritualized, Spacemen 3)
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a beautiful noise
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yeah good call on tower records. unfortunately i ordered my copy through them ages ago, still nothing. i even tried through my local indie record shop and no luck.
then again somebody in england has a copy that he already read that he is 'suppose' to be sending over. we'll see.
hopefully if it ever comes out in the states they'll have the common sense to change the cover, the one now can frighten children.
xxme
then again somebody in england has a copy that he already read that he is 'suppose' to be sending over. we'll see.
hopefully if it ever comes out in the states they'll have the common sense to change the cover, the one now can frighten children.
xxme
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AcepHale, Inc.
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hi,
just trolling the bb's, saw my lil' 'samizdat' contribution to The Spacemen hadn't been completely forgotten (and, in fact, its lack of availability in some places is like trying to procure some ancient, crytogramatic text like The Necronomicon...)--to answer the questions above, Omnibus Press is planning on releasing the book in the US anytime now...I presume within a few weeks--hopefully, you should then be able to find it (or at least order it) at Barnes and Noble, Border's, etc. etc. if you are so inclined--and, of course, by all means...
to contribute my own piece of arcana to the discussion, I was recently made aware that literary megalith Thomas Pynchon was an 'indie' rock enthusiast...in addition to being a fan of old school inspirations like Roky Erikson and their ilk (which makes sense given some of his characters in Gravity's Rainbow and The Crying of Lot 49) he follows more contemporary 90s groups as well--he also wrote the liner notes to The Lotion's '94 LP--which makes me wonder if ever he listened to Spacemen 3? it seems they might be right up his alley in many ways--what an interesting collision of histories, right? would give various appendages to scan his music collection (and of course meet him as well...)
oh yeah, has anyone else here listened to the new Black Dice LP? that's a name I don't see mentioned much here--reminiscent of early EAR with guitars I guess...I really like lots of their stuff...
take care,
erik m
just trolling the bb's, saw my lil' 'samizdat' contribution to The Spacemen hadn't been completely forgotten (and, in fact, its lack of availability in some places is like trying to procure some ancient, crytogramatic text like The Necronomicon...)--to answer the questions above, Omnibus Press is planning on releasing the book in the US anytime now...I presume within a few weeks--hopefully, you should then be able to find it (or at least order it) at Barnes and Noble, Border's, etc. etc. if you are so inclined--and, of course, by all means...
to contribute my own piece of arcana to the discussion, I was recently made aware that literary megalith Thomas Pynchon was an 'indie' rock enthusiast...in addition to being a fan of old school inspirations like Roky Erikson and their ilk (which makes sense given some of his characters in Gravity's Rainbow and The Crying of Lot 49) he follows more contemporary 90s groups as well--he also wrote the liner notes to The Lotion's '94 LP--which makes me wonder if ever he listened to Spacemen 3? it seems they might be right up his alley in many ways--what an interesting collision of histories, right? would give various appendages to scan his music collection (and of course meet him as well...)
oh yeah, has anyone else here listened to the new Black Dice LP? that's a name I don't see mentioned much here--reminiscent of early EAR with guitars I guess...I really like lots of their stuff...
take care,
erik m