in, out, repeat.

Went to see Christer's long, long-awaited show yesterday...I think I first talked to her about it maybe 5 years ago? I wasn't sitting in the best place: I couldn't get comfortable and the sound was a little unbalanced, both of which are kind of critical for a 90-minute drone performance.

But if I didn't have a perfect physical experience, the music itself must've made me think about something: I woke up this morning and did this longer-than-usual study while thinking about yesterday: can't say that the music has anything to do with Christer's approach, but well that's not always what inspiration's about now is it.

This is a BugBrand AudioWeevil (pictured, above) cabled up to feed back through itself and my Roland SP-404 sampler (the sampler is necessary for recording b/c it has an in and two outs). This is three takes layered together.

Hennix Study. (50MB, 22:49).

Me: audioweevil, feedback.



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cue exposure.

It's a bummer that Roland discontinued the Micro Cube this year: it weighed about 3 kg, so you could wear it around; had a 5-inch speaker driven by 2 watts of power, fueled by 6AA batteries. I always liked most everything about it except the built-in noise gate that you can't turn off, but oh well.

My point is: I'm recording with it right now b/c yeah, I can't be bothered to set up a microphone and my real amp, so this is the sound of the Cube going direct out to my soundcard, monitored through my stereo. It's like I'm in high school. That awesome hum is my Telecaster. It's such a shitty sound that it's almost OK.

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Cube Study. (7MB, 03:09).



Mark Morse: Telecaster, glass slide

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you so promotional.

Ideally one would post about his gigs before they happened, but...yeah. There's one more date left on the current run: 19 jan 2012, at De Gouvernestraat in Rotterdam.

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http://wereallfortheunderground.wordpress.com/

Concept: Hillary Blake Firestone i.s.m Mark Morse & Floriaan Ganzevoort
Creation/ Performance: Hillary Blake Firestone, Mark Morse, Anat Spiegel
Light Design: Floriaan Ganzevoort
Technique: Floriaan Ganzevoort, Kees van Zelst
Advise: Igor Dobričić, Keren Levi, Sam Louwyck
Production: Martine Dekkers, Mara Tomanek
Co-Production: Grand Theater Groningen, nb Projects, Dansmakers
Amsterdam With support from Fonds Podium Kunst
Photo: Raymond van Mil
Graphic Design: cubicle-design.com
Thanks to: Stichting Studio Dok, Nicole Beutler, Wilbert Bulsink, Felix van de Vorst, Raymond van Mil, Jeroen Kimman, Thomas Myrmel, Clare Gallagher

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summer's kiss is over baby.

In actuality it never started up, did it. We had like 4 summery days this summer, and I think I was locked in a rehearsal studio for 3 of them. Total bullshit.

At least it's not like I have to switch back into work mode or anything now: we never stopped. But I'm not really complaining: August in Berlin was unsurprisingly fun and rewarding: our hosts at Podewil/sommer.bar/Tanz Im August were perfectly great, and our modifications to hardly resulted in something quite hallucinogenic and exhausting (in a good way), it was my favorite thing I've ever done onstage. We did three loops over two hours, the video above is loop 1 plus 7 minutes of loop 2. I'm really hoping we get a chance to do this again somewhere so we can try more loops...right now we imagine that 5 in a row (3.5 hours) could be possible.

Currently enjoying the luxury of a whole week off, and then it's back into the studio to get some work done on WAFTUG before we take this is hardly an invitation to Milano in October.

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we need a reason to get drunk on a tuesday.

I wish I could say that my non-stop working this summer was a calculated response to the relentlessly shitty summer weather we've been having (think 60F and rainy), but no...it's just a sort of mollifying coincidence, actually being inside when the weather makes you want to be anyway.

After the wildly successful Julidans/ILTWT excerpt/premiere of WE'RE ALL FOR THE UNDERGROUND (ok, it was at least "successful"), we took a whole week off, and now we're back in the studio (above) working on an adaptation of this is hardly an invitation for the Tanz im August festival in Berlin (tentatively titled this is hardly an installation, ha ha) wherein we transform the procession sequence into a live installation that destroys the stage and then cleans itself up and restarts as many times in a row as we can do it.

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