MORC ZINE
a new season, new morc-releases. excellent.
hope you’ll enjoy these too
no idea what i was doing on the evening of april 15th 1995. i was probably in my bedroom listening to primus. whereas 15 kilometers further on, at the legendary pits bar, killdozer played their last show ever in belgian. including this stomper by neil young.
i should have asked my parents to bring me there. they would have said no, but at least i could blame them for not being there.
Duane Pitre - Feel free
it must have been around 2005 when i first heard about Duane Pitre - probably because he then ran a now defunct label, releasing a minmae cdr. at the time he also sent me a few of his pilotram-releases, which i happened to enjoy.
since then he abandoned the pilotram-moniker, and started making more minimal compositions under his own name, and as ‘pilotram ensemble’. best example: the lp ‘organized pitches’ he did on the mighty trome records, which was later re-released on important: two immense monotonous but very detailed pieces.
his newest release, feel free, seems largely based on various edited audio sources, that are turned into tiny details, at first hearing played at random, but making a very comples sounding whole.
At this moment, Pitre is touring europe, and we were lucky enough to witness a performance of his at les ateliers claus in brussels - in a tiny room, two speakers were set up where an automated version of the piece was playing.
oddly, it seemed that these detailed parts are the core of the composition. during the eight or so hours that installation ran as a part of the Klankson II-event, Pitre often joined in live, adding a sort of solid drone-base, whereas you’d expect it the other way round. fun fact: during the last 10 or so minutes, Pitre removed the details, letting a perfect drone end the 8 hour set.
he’s doing some more shows - none of them are 8 hours long, but i can only advize you to check it out. if you cant make it: buy the album and play it on endless repeat.
let’s say i’m quite excited about this new batch of morc-releases that have come out today. boduf songs, annelies monseré and karina esp.that’s solid.
—> www.morctapes.com
Rivulets and Codeine shows
ok. rivulets is opening for codeine on a few us-dates. but for my point of view, more important: rivulets is touring as a threepiece for the first time in the benelux-area. the rivulets-album ‘we’re fucked’ from last year was recorded in this line-up, and it turned out to be a great album.
We are pretty sure you guys are excited about those Codeine reunion shows right? …of course you are. We are too and specially when they have asked our friend Nathan Amudson (Rivulets) to open some shows for them in the states.
Rivulets will be opening for Codeine in Seattle and Portland,…
true widow kicked of their first european tour last thursday, and we got to see them yesterday at the 4ad club in Diksmuide. unfamiliar with the band before, it was a very nice surprise: a tight mix of stoner-doom sounds, with plenty of refences to the slowcore and shoegaze-area, early Codeine in particular.
they’re around for two more weeks, with plenty of shows in the uk, belgium/netherlands/germany. highly recommended.
and if you can’t see them live: the new record As High As the Highest Heavens and From the Center to the Circumference of the Earth turned out to be excellent to listen to early in the morning, but i can easily imagine listening to it for the rest of the day.
“ In fact, we have a new song called “The Apostate” and there’s a lot of kind of repetitive chanting in the song. For some reason I was doing this and I started saying her name over and over and now she’s become a part of the song. I’m singing “Lady Gaga” in the song, over and over (laughs). In a way, I’m invoking her demon spirit, praying for her to come down and fuck the demon brother inside me that is singing the song.
Michael Gira in Village voice
i still think it will be an amazing track
i still think it will be an amazing track
180°
from:
arab strap: first big weekend
to:
arab strap: fucking little bastards
hard to think of two songs that are so completely different, yet so related to eachother.
