watch clip and click here

Ever wanted to know the truth about most remix deals which are being done lately? Watch this clip.

EYHO Blog urges all new and upcoming producers to not give into the bullshit. The “foot in the doorstep” will never happen. (same goes for playing commercial festivals by the way)

It is time musicians unite and fight the exploitation which is going on behind closed doors.

We suggest if you like a track that much that you’ll get on your knees to do it then just do a mash up or bootleg remix and put it online.

Basic rule in the download age: If someone makes money with your shit, you should get your fair share.

(Yes, that also goes for any torrent website that has advertising or takes donations. Share your profits and support each other.)

German band Kraftwerk described themselves as ‘music-workers’ (’Musikarbeiter’)…

click here to listen to song

Br?der, zur Sonne, zur Freiheit
Br?der zum Lichte empor!
Hell aus dem dunklen Vergangnen
leuchtet die Zukunft hervor.

Seht, wie der Zug von Millionen
endlos aus N?chtigem quillt,
bis eurer Sehnsucht Verlangen
Himmel und Nacht ?berschwillt!

Br?der, in eins nun die H?nde,
Br?der, das Sterben verlacht!
Ewig, der Sklav’rei ein Ende,
heilig die letzte Schlacht!

UR – it’s time ! click here

subscribe to EYHO Blog – it’s free

also join us on Twitter to get updates delivered to you…click here xXx

we love you all…. and we love the music

This is a song I did with the Iranian singer, Sussan Deyhim, which will be presented as part of the protest situation – we’re presenting it with United 4 Iran.

The poem is based on a work by the poet Rumi from several centuries ago, but it still resonates with today’s geopolitics – it’s in Farsi, but for English speakers, there will be a translation posted.

In conjunction with United 4 Iran, a group of political activists, artists, writers, and musicians have organized a global protest in conjunction with many other movements. If you have a moment, please check out the material, and organize a local event to support the people of Iran.

Watch the video:

and check out the situation:

http://united4iran.org/

Join this unprecedented wave of global citizen activism for the people of Iran. On July 25, participate in an event in one of more than 50 cities around the world
http://united4iran.org/locations

I’m in a remote area of the planet, but am trying to get word out. We did the video over the last couple of days via remote edting. Already U2 and many other musicians and artists have joined. For example, U2 is projecting the lyrics of the song during their concerts… Please spread word!

in peace,
Paul aka Dj Spooky

subscribe to EYHO Blog – it’s free

TIME TO STOP QUOTING AND START CREATING!

by Alec Empire

Let me introduce myself; I am Alec Empire and I was born in West Berlin. I believe that I am the only ?true? Berliner in the current music scene. As far as I can tell, all the others claiming Berlin as their home, moved there to boost (or kill?), their careers. To be honest, I don?t think it matters that much… or shouldn?t in our age. I find myself talking to people from other continents more than those belonging to the so called local scene (I?m not really sure there is one and even if there is I?m not sure it?s what people would like to believe it is). Whatever, I suppose we all gain from the myth that comes with Berlin. Reality follows our imagination… Let?s hope so.

But it?s not about local scenes or absorbing something intangible from the air in Berlin. If you want to know your future you have to erase your past.
click here for ABC clip

Please excuse my English. I have been touring recently and my crew and band are from France & USA. Somehow we all speak this weird mixture of languages. It?s hard to switch back to normal you know?

I am used to change. Dramatic changes in the case of my country. When I was a child I always sensed that post-World War II vibe – even decades later. Everybody has seen it in a film or read a book; but there are aspects Berliners have never really talked about in public. For example: how many women were raped at the end of the War? We can barely imagine that deep pain and its consequences on society. Then there?s the GDR and the Wall finally coming down. On the surface Berlin looks cool; parties, clubs like nowhere else in the world but to me it always feels like children celebrating themselves, dancing on a mass grave, not knowing, innocent… The beginning of Lord of the Flies.
click here for deleted scene clip

Where I come from, the majority is a potential threat to the individual. The silent majority can decide over life and death of real people, just because they ignore political news on that day of the football match.
watch clip
watch next clip here

Change… Some feel threatened by change and others actually fear it and would become ?ber-active just to stop it from happening. It makes them so nervous. I associate change with new opportunities and taking chances.

But I believe things are really changing. Right now! For the past nine years the music scene has reminded me of a dying dog, bleeding to death, bleeding dry and trying to bite its attackers who stand just out of reach, watching…

Hopefully by now, the majority of people have understood that doing nothing is the most powerful and damaging action they can take these days. Not buying a car, not buying music, not voting. Years ago I went on what most would call a ?date? and the girl didn?t know anything, she looked good, but that night I realized I was bored with that shiny surface of everything in our society. When I first heard John Coltrane I knew instantly that there was so much more than I could understand on the first listen. Music can store information and emotions that words and images fail to describe.
watch John Coltrane here

With most music that came out during the ?Bush Era? you could dig and dig and discover absolutely nothing. The past nine years have been a black hole – we can admit it now that this era is coming to an end. Musicians were scared, scared of not selling, of not being ?accepted?. The social networks reflect that perfectly. Become popular at all costs. Lie, fake your profile (I am not talking about making it look the best it can be, but pretending you are someone else), use bots to get that snowball rolling, survive the download madness. If you are reading this and don?t know what I am talking about, compare the past few years with the 40?s or 50?s.

The music scene has been doing the same as the financial world; the exact same. Investing in non-existent capital, trying to create ?value? out of thin air. And most people have been busy making sure that they are on the ?right? side of things, where most people gather, than listening to their inner voice. Because being alone or out of step seemed to be the worst thing that could happen.

It was safer to quote others. Just don?t take the risk to be the first to try something that you might regret later. That is the worst environment for true creativity.

It has become obvious that capitalism has not brought us what it promised. Short term thinking, maximizing profits only works for a little while and then the whole system collapses.

I am fascinated how the game industry tricked kids into buying Guitar Hero. Do you want to play the guitar? Press this button. Pop Idol (American Idol) – it?s the same thing. Get to the top without skills and do it fast. The real pleasure of playing an instrument is the learning process, and then applying it. To then face your judge: the mob, the audience, the crowd.
click here for free Guitar Hero excitement in the real world

I learned everything I know about music in the ?underground? scene. This is where people helped each other. If there is a great musician, who is so innovative that non musicians fail to see it, then everyone helps pushing, giving credits until it is understood (The Crystal Castles hypocritical slogan on the NME cover last year ?we get sounds that nobody else gets? while stealing them without crediting couldn?t describe better what I am trying to say here).
click here for copyright private investigators

In the past, major record labels couldn?t live without the Indies, because they were unable to discover the new talent which had the potential to shape the future of music. It strikes me they have learned to love each other. Shrinking sales have made majors adapt marketing techniques which were first explored by the Indies, and the lines have been blurred so much sometimes it?s difficult to tell them apart. It?s like a boxing match where both contesters are just hugging each other. Boring to watch. No tension.

This is about to end now. I love how blogs challenge the traditional music press. The information is going up so fast, you are forced to think! Is that really true? Is that some bullshit hype? Who paid for that???

New music pops up here and there and by the time the machinery wants to grab it to package it and sell its tiny little soul, it?s already gone.

Philosopher Gilles Deleuze comes to mind… Imagine a tree with Red Hot Chilli Peppers sitting on top, Metallica and all the other mega bands just below. In the past every band wanted to climb that tree and take their place, like the monkey chief. In the future there won?t be any trees, friends, there will be only grass. And a lot of it. Fifteen minutes of fame reduced further to the length of a mouse click. In a globalised world, pop music like we used to define it, has no future.

What an exciting opportunity this holds!

www.eyho-blog.com

A Day in the Death by Andrew Strasser (Bad Brilliance!)

nothing beats Destroy All Monsters on a Sunday evening….

click here to watch

propaganda makes us feel good

click here to watch

as your habbit grows….it’s going to happen…

we are so blog fatigued…it’s summer and hot in Berlin-West…why work…on anything….did you get the new update for the iPhone? Make sure to catch Patrick Wolf at Melt Festival (go there, watch him, then leave because the rest is the horror, the horror, spend the weekend in Berlin, wayyyy better)

see you next week at the shows!

*** love,

Alec Empire

www.eyho-blog.com

VAGABONDO 2009

Over 4 virtual stages will run a program on the magazine’s website www.artrocker.tv from May 25.

Artrocker magazine invited a selection of bands to a studio to create original recordings for the festival.

The sessions can be streamed or downloaded for one week. Ambient, Spoken Word, Noise and Experimental pieces are performed by participants like

New York’s Suicide, Alec Empire & Nic Endo, The Aliens and others.

Artrocker Magazine is really pushing boundaries with this projects, forcing the artists to leave their comfort zones and express themselves in ways they’d normally not do!

MAKE SURE YOU TUNE IN!

www.eyho-blog.com

Hello to the Sound Unbound crew!

I’m just writing to say a basic hi and to give you a tiny update about what’s been going on! It’s been a while since we all corresponded about Sound Unbound, and there have been many developments. We’ve had highly successful book launches everywhere from Melbourne, Toronto, Vienna, Capetown, London, Berlin, Naples, Paris, Rome, Milan, San Francisco, Washington DC, Yale, MIT and many spots in between, and the book has been pretty much one of MIT’s best selling books for the last several months. I still have to hit parts of Asia (Singapore, Tokyo, Seoul, Calcutta etc probably over the summer) and the Moscow/St Petersburg releases will be in the autumn.

We’re getting everything ready for the amazon.com Kindle release of Sound Unbound, and we’re getting the book geared up for a “remix” – all essays that were in the normal book form (except Simon Reynolds) will migrate to new electronic forms. To spice up the electronic editions, there will be several additions and many more web links (sound mixes, excerpts from compositions etc). You can follow details at www.soundunbound.com

We’re adding a short afterward by an old friend of mine, the renowned hiphop historian Jeff Chang, author of the best selling hip hop history “Can’t Stop Won’t Stop.” More on that in a little while.

During the interim, check out the book! It’s doing quite well in the academic scene!

It was very difficult to get everyone’s essay into the book, but it’s been a gratifyingly dynamic situation. The book isn’t really a “commercial” situation – it’s been a passion of mine to break down barriers between scenes, styles, and above all – genres. Where else would you find Pierre Boulez and Chuck D hanging out (by the way, I’d love to put you two together one of these days!). Call it “book as playlist entropy!” Anyway, thanks again!

in peace,
Paul aka Dj Spooky

www.eyho-blog.com

************************************please find english version below

Bongout Gallery presentiert

MIRON ZOWNIR FOTOGRAFIEN

vom

23. April ? 30. Mai 2009

Vernissage am 22. April um 19.00 Uhr.

Mit radikalem Blick erschafft Miron Zownir Bilder von Menschen, die sich am Rand gesellschaftlicher Normen und Konventionen bewegen. Er sucht nach dem Ungew?hnlichen und extremen Situationen. Hat Zownir einen solchen Winkel entdeckt, l?sst er nicht mehr von ihm ab. Er skizziert und dokumentiert diesen Ort und seine Menschen. Er holt ihn aus dem Schattendasein hervor und macht ihn auch f?r all jene sichtbar, die sich niemals aus freien St?cken hierher begeben w?rden.

Seine Bilder erz?hlen von Kontrollverlust, Einsamkeit, Sexualit?t, von Rausch, Gewalt und Lust.

Miron Zownirs Fotografien von anonymen Menschen sind genauso geheimnisvoll wie die von ihm Portr?tierten. Vor seine Linse traten Pers?nlichkeiten wie David Lynch, Klaus Kinski, Ben Becker, Alec Empire und Christoph Schlingensief.

Es gelingt dem Berliner Kult-K?nstler, eine extreme N?he zu den von ihm abgelichteten Personen aufzubauen. Die Intensit?t seiner Suche nach dem richtigen Augenblick ist in seinen Schwarzwei?-Fotografien zu sp?ren. Mit durchdringender Sch?rfe gibt er Einblick in subkulturelle Geschehen der Gro?st?dte. London, Los Angelos und Moskau z?hlen zu seinen Stationen. Im New York der 1980er Jahre verlieh ihm die lokale Szene aufgrund seiner F?higkeit, den allt?glichen Wahnsinn aufzusp?hren, den Namen Teutonic Phenomenographer (Village Voice).

Die Bongout Gallery ist stolz, neue Arbeiten von einem der kompromisslosesten Fotografen unserer Zeit zu pr?sentieren. Neben seiner T?tigkeit als Fotograf, ist Zownir auch als Regisseur und Schriftsteller aktiv. Einige seiner Kurzfilme sowie das Filmportrait Zownir-Radical Man (Regie: M.A. Littler) werden im Rahmen der Ausstellung gezeigt.

Ein ebenfalls tabuloser K?nstler, den Zownir Ende der 70er Jahre in Berlin kennenlernte, war Engelbert Kiefernagel. Zeichnungen und Briefe aus Zownirs Privatsammlung geben einen Einblick in das von extremen erotischen Fantasien und anarchistischen Inhalten gepr?gte Werk des eigensinnigen Mannes.

Bei der Ausstellungser?ffnung erfreut uns ein alter Bekannter mit einem seiner legend?ren Liveauftritte: Bruno S.
Als Schauspieler erlangte er in Werner Herzogs Filmen ?Jeder f?r sich und Gott gegen alle? und ?Stroszek? Bekanntheit. Heute ist er wieder als Stra?enmusikant unterwegs. In seiner ersten Hauptrolle seit Jahrzehnten brilliert Bruno S.- mittlerweile 76 Jahre alt- in Zownir’s neustem Spielfilm PHANTOMANIE.
(Info: Anne-Katrin Frank)

Bongout Gallery / Showroom
Torstrasse 110
10119 Berlin- Germany
+49(0)30 280 937 58
info@bongout.org
www.bongout.org
Opening Hours: Tu – Sa, 12 – 7 pm

*********************************************************

BONGOUT GALLERY presents PHOTOGRAPHY OF MIRON ZOWNIR

23 April ? 30 May 2009

Opening: Wednesday, 22 April 2009, 7 pm

With a radical eye, Miron Zownir creates images of people living on the margins of society?s norms and conventions. Zownir is particularly interested in exceptional and extreme situations. Once he has discovered such a corner, he doesn?t let go, sketching and documenting the life of the people that inhabit it. He sheds a light on the dark corners of society, making them visible for all those who would never venture in such areas. Zownir?s images speak about the individual?s loss of control, loneliness, sexuality, intoxication, violence and desire.

Miron Zownir?s pictures of anonymous people are just as enigmatic as his portrait subjects. In his career he has photographed prominent figures such as David Lynch, Klaus Kinski, Ben Becker, Alec Empire or Christoph Schlingensief.

The Berlin-based cult artist manages to establish extremely close contact with the people he photographs. The intensity of the photographer?s quest for the right moment is palpable in his black-and-white close-ups. With a clinically sharp gaze he delves into the subcultures of large modern cities. London, Los Angeles and Moscow are among his stations. In the New York of the 1980s Zownir was called the ?Teutonic Phenomenographer? (The Village Voice) for his capacity to track down the daily madness of the local scene.

Bongout Gallery is proud to exhibit the latest photographic work of one of the most uncompromising artists of our time. Beside his activity as a photographer, Zownir also works as a filmmaker and writer. As part of the exhibition, the gallery will present a selection of his short films and the documentary Zownir- Radical Man by M.A. Littler.

Engelbert Kiefernagel is just as tabooless an artist. Drawings and letters from Miron Zownir?s private collection provide an insight into the work of this headstrong artist, which is marked by extreme erotic fantasies and anarchist thinking.

Bongout is also pleased to announce that Bruno S. will perform one of his legendary live acts on the opening night. Bruno S. is best known for playing the main roles in Werner Herzog?s films ?Every Man for Himself and God Against All? and ?Stroszek?. Today the actor has resumed his marginal existence as an ambulant street musician….and played – for the first time since decades – again a major part in Zownir’s latest fiction feature PHANTOMANIE.

www.mironzownir.com

—————————————————————————————-

M.A. Littlers documentary ZOWNIR- RADICAL MAN is now available for DOWNLOAD at www.slowboatfilms.com

–

by RZ22

The Obama Deception is creating heated debates right now, even in Berlin. Mike passed it on to Alec, Alec passed it on to me.

What do YOU think?

It’s Mid March and it looks as the euphoria of the Obama win has disappeared. Most people have turned away from politics (or should we call it mass media election entertainment?), thinking that it’s all safe and taken care of.

Every time Alex Jones appears (and he is a Foo Fighters fan, which makes us question his true intentions – yes, when you are a mid 30ties woman who thinks the drummer is “cute”, you are maybe forgiven…But Alex Jones and Foo Fighters? get outta here) it is time to look at ourselves…do we get all emotional when this guy screaming at us? Is he right?

Is this a conspiracy theory? What do you think?

Has our generation fallen for a president because our “taste” has been exploited?….our taste for hip hop culture and US MTV? Jay Z? If a “black” president is elected, can you criticize him in the same way as all the others? Fact is it is hard to raise awareness in times when people are scared to lose their jobs and love the charisma of a leader.

It almost feels a bit like right after 911, but in a positive way. Every time when one can’t say something, then it’s time to be on high alert!

Another sign is when the music scene is dead quiet. This should be more exciting than 1977’s punk movement in the UK! Wait, Peaches is releasing a new record…we are already asleep. Digitalism sucking corporate cock working for Nokia.

Did you see the news about the German industry writing to the government that students coming out of university are now too “aligned”, too “adapted”, too “conform” for the challenges that the industry faces right now. Well, you bred those consumers carefully, and now it doesn’t make sense anymore?…haha

Watch KRS-1 answer some questions in here. This is always worth it! (What happened to Hip Hop by the way? How did we let this slip? f$$$$ing hell…)

THINK! And let us know what you think!

There is nothing to discuss about music anymore as it is a dead horse. What a shit time for music journalists right now. All the free flights, all the little steps towards corruption, faking opinions, ads, well…music in 2009…this is what you created Mr Music Journalist. You gave away your only weapon, your voice …for a little bit of cocaine and CDs that you sold on ebay.

If we agree or not, The Obama Deception is everything a modern pop song should be:

mind challenging, emotional and passionate plus a good rap of KRS! Well, Beyonce …you got to train your mind instead of your legs to compete with that!

The Obama Deception Pt.1

Pt.2

Pt.3

Pt.4

Pt.5

Pt.6

Pt.7

Pt.8

Pt.9

Pt.10

Pt.11

Pt.12

www.eyho-blog.com

click here to watch

Alec:”Please quickly describe for us…what is it that you do? Exactly? ”

Graham:” Well, we’re producers and audiovisual artists, a music act but we work with film too if that makes sense – I guess kind of ?think DJs but with added pictures?, though that?s a terrible description -

it’s actually much much more than that, but it gives you an idea. We produce all our own material based on audio/video sampling and remixing of films, concert footage etc. To us, the whole visuals thing is really a natural extention to our music and a logical progression of remix culture.”

Tolly:” We perform a fully audiovisual set of totally synced and integrated music and images, where everything you see, you also hear, and vice versa. Actually, a good example, is we?ve just created a drum ?n? bass track by sampling a classical Orchestra.

The idea came from the BBC series Maestro here in the UK, where famous people had to conduct an orchestra and Goldie took part and came second. I mean the BBC took Goldie out of his comfort zone of drum ‘n’ bass, by making him conduct classical music – so we thought we’d put him back in the world of drum n’ bass but with violins and cellos. So we remixed the orchestra, sampling everything from violins to kettle drums, and created a mad drum ‘n’ bass track made from those samples, with Goldie conducting.”

Graham:” And unbelievably, we found a perfect drum ‘n’ bass drum loop played on a kettle drum from the 1812 Overture! It’s amazing to see something like that just fit, I mean finding a bit of drumming written a couple of centuries ago that works as a loop for drum ?n? bass kind of shows that music at it’s very roots always follows the same rules.”

click here to watch

Alec: “Which is more powerful to you? the image or the sound?”

Tolly: “Both ? that?s the whole point with what we do! They work completely in unison ? if you see a film at the cinema, what?s more powerful? The images or the accompanying music? The answer is both, as they are working together, if you took either away, neither of them are as powerful on their own.”

Graham:” Yeah, our AV has to still work as music and follow most of the rules of musical composition, but at the same time following some of the energies and ideas of film-making. Say, when there?s a breakdown in the music which, say, then slowly builds back up into a heart-thumping dramatic crescendo; we might build that musical composition underneath a very specific dramatic sequence within a film remix, making full use of the dramatic power of the images that you?re seeing, into ?an AV experience? – for want of a better phrase – that in a club, music simply can?t do by itself.”

click here to watch more!

Alec: “When one thinks of remix culture, copyright theft and exploitation of other artists are mentioned often at the same time…where do you draw the line? How should our society handle these issues?”

Graham: “It?s a complicated issue, and maybe I would argue for some kind of a system that made it all simpler and clearer; something along the lines of an extended Creative Commons type approach, which allowed unrestricted artistic use of sampled content, but had the additional mechanisms in place to allow for commercial use, where percentages of profit could go back to the rights holder.

Those are complicated to put in place and collect of course, but not beyond the collective power of the creative industries to solve. If rights holders saw a monetary upside from allowing certain kinds of video sampling, then more people would allow it and the idea would spread. If it can work with sampling in music, it can be made to work with films and other mediums.”

Tolly:” More of a problem is the idea that certain artists or rights holders do not want their work messed with, and irrespective of money, would always say ?I created it that way for a reason, I don?t want it altered? and that?s more complicated to argue against. Everyone just has to come to terms with the fact that with modern technology artists will sample and use other?s work, but we just need a workable framework to do it in. But sadly life isn?t that simple?!”

it just does not stop….click here and watch this!

Alec:”How do you prepare your work?”

Tolly: “Generally we sit in the studio, look through the video, whether it?s a movie or a music video, and then sample it, and like any DJ or producer looking for great audio samples, what we look for has to sound good but also has to look good too. But with film remixing, there’s the added complication of finding shots that’s also help explain the narrative and essence of the story and characters! Thinking in two mediums at once can get complicated!”

Graham:” It’s not easy to describe our working process, and it’s something we’ve had to work out how to do from first principles to achieve just what we want. It’s a kind of cross between film-post production and music producing, the difference with us though is that we don’t separate out the processes for audio and video – we treat them as part of just one production process, creating them both at the same time, and we think that shows in the end results.”

Alec:”In this clip we can see you perform in a live environment. Can you react to the audience? Or do you plan out the crowd reaction beforehand?”

Graham:” Both – just like any band or DJ, we usually work out roughly what our set will be, knowing what works at times during a set, but can always change and adapt it, drop tracks we were thinking of playing and swap them for one?s we weren?t going to play and so on. We?re not fixed, it?s audio/visual but it?s not a movie.”

Alec:”I keep having the same conversations with film directors who feel that a film will never be able to compete with a live show of musicians, because a show creates a different atmosphere, an interaction with the crowd. While I find it very fascinating when directors manage to set up a scene which has such an emotional impact on the audience when it’s being screened at a later point in time.

Many directors sweat quite a bit when they are present at their own film premiere, because there is no chance anymore for maneuvering. What is your view on that and how do you deal with this? Will VJs be able to build the bridge and will they perhaps influence directors and musicians, inspire them to approach their work in new ways?”

Graham: “Film-making is a very different discipline to what we do. Film directors engineer their scenes to create an emotional response or sometimes it?s just narrative thrust, or hopefully it?s both at the same time and the composers film score illustrates or informs the mood, or sometimes it?s even the driving force. What we do is give a pr?cis of the narrative, in quite an abstract but musical way, and of course it?s the music that drives us because the music and visuals are in essence the same thing in our work.

We?re not constrained by the same rules and conventions as film directors and composers at all, and we can find new ways to tell a story in a more abstracted musical way; like I said, when we play live we react to an audience more like a DJ or band. And yes, it would be great for VJs and AV artists to influence cinema, I think there?s definitely a new kind of cinematic syntax being developed now by AV artists and I?d love to see this working its way back into mainstream film-making.”

Tolly:” But after making remixed trailers ourselves I?ve definitely now seen some TV ads and broadcast trailers in the last couple of years that have used a style which appears to be influenced by what we?re doing! But there?s been little hints of audiovisualness in films for a long time though, probably as long as films have been made. The old movie ?Bedknobs and Broomsticks? springs to mind, as does ?Mary Poppins?, and of course Disney?s ?Fantasia?, where sequences were inspired by the work of Oskar Fischinger who also worked for Disney on that film. I think sometimes modern VJs tend to like to think they?re cutting new ground but mostly they?re finding new ways to use old tricks!”

Alec:”When you watch films do you always stay alert to scenes that you might want to use later? (My brain always sends me messages, when something might be a good loop or something haha)”

Graham:” Yes, absolutely – it?s kind of hard these days now to watch films without thinking ?that?d make a great sample?!”

click here, just do it….

Alec:”Tell us about your remix for Slumdog Millionaire…how did that come about? I guess everybody is asking the question right now This will haunt you for the rest of your lives? what do you think?”

Tolly:” not sure it will haunt us – it was a great remix to be asked to do, but yes – everyone in interviews is now asking us about it! It?s phenomenal what?s happened to the film since we were asked to be involved, an absolute sleeper hit as they say.”

Graham:” I know, 8 Oscars, a bunch of BAFTAs, Golden Globes and dozens more awards. Crazy to think when we were remixing Slumdog Millionaire and told people about it, no one knew what we were talking about! It was something we are asked to do by the film?s distributors, and we’d only really done film remixes for the US studios up to that point with films like Iron Man, Take the Lead etc so it was great to work on a British independent film. British films have a whole different vibe to the Hollywood movies and Slumdog in particular is really fresh and brilliantly captures India and the slums in particular.

The film?s director Danny Boyle saw our work and wanted us to do it, and it was a fantastic film to work with, really vibrant, colourful, and full of energy. It?s one of those films that you would think would be really easy to remix but it was actually quite hard, it took us a couple of goes to get it right, to match the film?s energy and pace. Looking back now, it?s been a great ride and we?re really pleased to have been able to remix an Oscar-winning movie, particularly as it also means that the idea of film remixing has just become a bit less underground than it was before.”

Tolly: “Well even Iron Man was nominated for an Oscar for its special effects, so to have remixed that too for Paramount shows film remixing certainly isn?t underground any longer. As it happens, last year we were also asked to remix the Gus Van Sant film Milk as well, which Sean Penn won the Oscar for. Sadly it didn?t happen in the end, but again shows the people behind such high profile movies are thinking of getting their films remixed.”

Alec:”Please name 6 of your favourite films EVER!”

Graham:” Definately both ?Brazil? and ?Time Bandits? by Terry Gilliam! ?Brazil? might be a bit of clich?d answer I know, but it?s a visionary piece of film-making and still stands up to this day. In fact, in many ways it has more in common with what?s happening in the World now with terrorism than it did at the time in the 1980s. I?ve also always liked Michael Powell?s ?A Matter of Life and Death? amazing film and of course the original ?Star Wars? which really inspired me as a kid.”

Tolly:” I?d put ?City of God? in my list and ?The Lord of the Rings? – but that?s a trilogy, does that count?”

Alec:”What do you have in mind for the future? In times when storage and hard drives have no limits anymore, will you give us a 3h remix version of…let’s say all Kubrick films? Or what do you guys have planned for the coming decade?”

Tolly: “Not sure creating a 3 hour remix of anything is a good idea – we might send our audience to sleep! But in the coming decade, yes I can see something like this working. The more audio/visual sampling and remixing becomes established, I think it?s quite clear that live AV shows based on, say trilogies like ?The Lord of the Rings? or movies by one director, will happen. I guess someone just has to try it and see if there?s an appetite from audiences; if you could get it right then I think it?s a great idea. Yeah, maybe we should do a feature length remix of ?Mamma Mia? and make our fortunes!”

Graham: “Er, maybe not! It would be nice though to think that all our remixes in 10 years would be in 3D, with surround sound, a fully immersive experience. In reality who knows what will happen, I think things will develop in unusual and unexpected directions, that?s part of the adventure, there?s currently few rules and the way technology evolves tends to mean eventually the imagination becomes the limiting factor.

Time and money in practice always interfere, but in theory pretty much anything will be possible. Maybe we?ll all stay at home and send our avatars out on virtual tours of Second Life. That would limit our carbon footprint, but would be infinitely more boring.”

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ENTERTAINMENT AND PAIN. an interview with Miron Zownir regarding his film ?Phantomanie?.

Preview Screening during “Transducers! Festival” in Berlin at Tresor on 12th of February 2009 was a success. We posted a German interview a few days ago. This is the translation by M.A.Littler.

After several attempts you have now made your first feature films. Why has it taken so long?

Zownir: “I had already written screenplays in the 80?s in New York and L.A. that anticipated several things that Tarantino then realized in the 90?s.
But my then producer Chosei Funahara insisted on doing a flic in the Philippines first because he hoped to be able to raise a larger budget for our film that way.

Unfortunately that film turned out to be a flop as I had expected and Funahara never recovered.
We had been preparing my film ?The Contender? for three years. We had a great cast lined up ? Peter Fonda, David Terriffick and Richard Edson (Stranger than Paradise).

When I got word that the Philipino film killed our project, I threw my videorecorder and television set out of the closed window and was arrested, tied up and almost killed by a fascist LAPD deathsquad.
After that my screenplay ?The Loser? was rejected by ?Das kleine Fernsehspiel?, claiming that the German audience could not be confronted with such violence and obscenities.
Even the support of internationally acclaimed actors couldn?t eleviate the fear of the financiers that my films would pass the boundaries of the tolerable.

What is ?Phantomanie? about?

Zownir: “I believe that today?s materialistic hegemony, the blind faith in progress and the uncontrollable globalisation of power and economy paired with the idolatry of fame and an anachronistic monotheism triggers our primal fears.

Who am I? How or based on who can orientate myself. Who can I still trust? How can I survive without becoming part of the inhuman machinery? How can I protect my emotions and individuality when everything can be duplicated and replaced.

Perhaps those are not the fears of the majority but much rather the fears of those who refuse to conform. But that?s probably the target audience I want to connect with and that I identify with.”

Natalia Avelon plays a prostitute in Phantomanie.

That doesn?t sound like entertainment.

Zownir: “My films are an amalgamation of entertainment and pain. You can laugh and cry about the helplessness, confusion and anger that my characters experience. But the mere fact that they fight back and have to find a way through the chaos of their psychotic dreams and illusions makes them rebels of sorts. Even if they fail, they have more in common with one of Crumb?s comic heroes than a good looking Hollywood loser.

They?re overdriven, distorted and far from the norms of mass production, designed on the drawing boards, that everyone wants to supposedly see. None the less they are realer than the common media puppets that the German televison networks force upon their audience.“

There is a particular passage in your collection of short stories ?Parasites of Helplessness?, in wich a journalist tells a director: ?you make films for lunatics, sadists and pilgrims on their way to hell. In how far does that apply to you?

Zownir: (laughs) “Everyone should see my films. I have no reservations or fear of contact.”

Bruno S. performed in his first feature film in thirty years. How did you convince him?

Zownir: “I had already made a documentary about him and he trusts me. He plays a mixture of a moronic bum and an all knowing philosopher, a character that mediates between dreams and reality ? he does the same for himself in real life.”

Bruno is known as an icon of amateur acting, who no one wanted to touch after he made films with Herzog.

Zownir: “I freed him from that Herzog corsette, which is really limited to the poor, ridiculed outsider.
The scene in which Bruno becomes the werewolf-like strangler will most likely not please most of his fans. But Bruno is more than merely part of the Herzog mythology and I gave him the opportunity to prove that.”

What was your collaboration with Alec Empire like? He is known to be eccentric not unlike yourself.

Zownir: “When working with me every genius eccentric has a jester?s license?let?s say within the boundaries of what I am trying to say. With Alec I had to make no compromises because he understood the film better than I did (laughs). Our collaboration could not have been better.”

Your photographs, novels, stories and films are hard to digest for most people. Could one refer to you as an iconoclast?

Zownir: “I believe on your way to self-realization, you must first tear down all barriers before you know where it is that you want to go. As soon as I encounter taboos, I feel provoked, I get uncomfortable and try to question them. Looking at it from this angle, I haven?t learned all that much within the past thirty years (laughs). Call it what you will, but I believe what distinguishes me is the courage of the uncensored word or image.
The moral imperative of post-war Germany is hard to digest or to accept because their moral ambassadors, as we well known are the biggest opportunists and cowards.”

One of your lead actors Frederic Geay died during the post production of Phantomanie due to an asthmatic attack. In his part he continuously talks about death. Do you see a connection?

Zownir: “Freddy was a good friend of mine and I knew he was asthmatic. In a way he played himself and he addressed fears that tortured him his entire life. Yet at the same time he was optimistic, enjoyed life and defied it all with humor and charme. Freddy?s death was a shock to us all. Everyone that worked with him liked and respected him. I would have made many more films with him.”

http://www.mironzownir.com/
http://www.myspace.com/zownirradicalman

ENTERTAINMENT UND SCHMERZ. Ein Interview mit Regisseur Miron Zownir ?ber seinen Film “Phantomanie”

Preview Screening beim “Transducers! Festival” in Berlin im Tresor am 12.Februar 2009 – Start 19 Uhr

Du hast nach mehreren Anl?ufen endlich deinen 1. Spielfilm gedreht. Warum hat das solange gedauert?

Zownir: “Ich habe bereits in den 80?er Jahren in New York und LA mehrere Drehb?cher geschrieben, die einiges von dem vorweg genommen h?tten, was Tarantino in den 90?er Jahren realisiert hat.
Aber mein damaliger Produzent Chosei Funahara wollte unbedingt vor meinem ersten Film noch einen Streifen in den Philippinen drehen, weil er sich davon ein gr??eres Budget f?r unser Projekt erhoffte.

Leider wurde der Film, wie ich vorausgesehen hatte, ein Flop und Funahara hat sich nie wieder davon erholt. Wir hatten uns drei Jahre lang auf meinen Film ?The Contender? vorbereitet, der mit Peter Fonda, David Terrifick und Richard Edson (Stranger than Paradise) gl?nzend besetzt war. Als ich die Nachricht erhielt, dass der Philippinofilm unser Projekt gekillt hatte, habe ich meinen Fernseher und Taperecorder durch das geschlossene Fenster geworfen und bin von einem Sturmtrupp faschistischer LA-Bullen, an H?nden und F??en gefesselt, beinahe totgeschlagen worden.
Sp?ter wurde mein Drehbuch ?Der Versager? von kleinen Fernsehspiel mit der Begr?ndung abgelehnt, dass man dem deutschen Fernsehpublikum, meine Gewaltszenen und Obsz?nit?ten nicht zumuten k?nnte. Selbst die Unterst?tzung namhafter, internationaler Schauspieler konnte den verantwortlichen Geldgebern nicht die Angst davor nehmen, dass meine Filme ?ber die Toleranzgrenze, der Tolerierbaren hinausgehen w?rden.”

Um was geht es in Phantomanie?

Zownir: “Ich glaube, dass die heutige Zeit der materiellen Hegemonie, des blinden Vertrauens an den Fortschritt und der un?berschaubaren Globalisierung der Macht und der Wirtschaft, gepaart mit einem g?tzen?hnlichen Starkult und anachronistischen Monotheismus, unsere Ur?ngste triggert.

Wer bin ich? An wen oder was kann ich mich orientieren? Wem kann man noch trauen? Wie kann ich mich behaupten, ohne ein Teil der menschenverachtenden Maschinerie zu werden? Wie kann ich meine Emotionen, Gef?hle und Individualit?t retten, wenn alles duplizierbar und austauschbar ist?
Vielleicht sind das nicht die ?ngste, die die Mehrheit empfindet, sondern eher derer, die sich nicht anpassen wollen. Aber das ist wahrscheinlich die Zielgruppe mit der ich mich identifiziere und die ich ansprechen will.”

Klingt nicht gerade nach Entertainment.

Zownir: “Meine Filme sind eine Mischung aus Entertainment und Schmerz. Man kann ?ber die Hilflosigkeit, Verwirrung und Wut meiner Charaktere ebenso lachen wie heulen. Aber allein die Tatsache, dass sie sich wehren und sich im Chaos ihrer psychotischen Tr?ume und Illusionen zurechtfinden m?ssen, macht sie zu einer Art von Rebellen. Selbst wenn sie scheitern haben sie mehr von einem Komikhelden von Crumb als von einem gutaussehenden Hollywoodloser.

?bersteuert, verzerrt und weit von der Normierung, der am Rei?brett konzipierten Massenware, die angeblich alle sehen wollen, sind sie dennoch reeller als die ?blichen Medienmarionetten, die von dem deutschen Fernsehanstalten ihrem Publikum aufgedr?ngt werden.”

In einer Passage aus deiner Shortstorysammlung ?Parasiten der Ohnmacht?, sagt ein Journalist zu einem Regisseur, ?Sie machen Filme f?r Geisteskranke, Sadisten und Pilger auf dem Weg in die H?lle.? Inwieweit trifft das auf dich zu?

Zownir: (lacht) “Meine Filme sollen alle sehen. Ich habe keine Ber?hrungs?ngste.”

Bruno S. hat seit 30 Jahren seinen ersten Spielfilm gedreht. Wie hast du ihn dazu ?berredet?

Zownir: “Ich habe bereits eine Doku ?ber ihn gedreht und er hat mir vertraut. Er spielt eine Mischung aus debilem Penner und allwissenden Philosophen, eine Figur, die zwischen Traum und Wirklichkeit vermittelt, wie er das im wirklichen Leben mit sich selber tut.”

Bruno gilt als Ikone der Leiendarsteller, den nach Herzog keiner mehr anfassen wollte.

Zownir: “Ich habe ihn aus dem Herzogkorsett befreit, dass im Grunde genommen auf den armen, verspotteten Au?enseiter reduziert ist. Mit der Szene wo Bruno zum werwolf?hnlichen W?rger wird, werden sich die meisten seiner Fans nicht anfreunden k?nnen. Aber Bruno ist mehr als ein Teil der Herzogmythologie und ich habe ihm die Chance gegeben, dass zu beweisen.”

Wie war deine Zusammenarbeit mit Alec Empire? Er gilt ?hnlich wie du, als schwierig.

Zownir: “Bei mir hat jeder geniale Exzentriker Narrenfreiheit, d. h. im Rahmen dessen, was ich verwirklichen will. Aber bei Alec musste ich keinerlei Einschr?nkungen machen, weil er den Film besser verstanden hat als ich. (lacht) Unsere Zusammenarbeit h?tte nicht besser sein k?nnen.”

Deine Fotos, Romane, Storys und Filme sind f?r viele schwer zu verdauen. K?nnte man dich als einen Ikonoklasten bezeichnen?

Zownir: “Ich glaube, dass man in seinem Drang zur Selbstverwirklichung immer zuerst alle Schranken niederrei?en muss, bevor man sich dar?ber klar werden kann, wohin man will. Sobald ich auf Tabus treffe, f?hle ich mich provoziert, werde unangenehm und versuche sie zu hinterfragen. In dieser Hinsicht habe ich in den letzten 30 Jahren nicht viel dazu gelernt (lacht). Man kann das nennen wie man will, aber ich glaube, dass was mich auszeichnet ist der Mut zum unzensierten Wort oder Bild.

Der moralische Imperativ der Nachkriegsdeutschen ist deshalb so schwer zu verdauen oder zu akzeptieren, weil ihre sch?rfsten Vertreter aus moralischen Instanzen besteht, von denen man einfach wei?, dass sie die gr??ten Opportunisten und Feiglinge sind.”

Einer deiner Hauptdarsteller, Frederic Geay ist w?hrend der Postproduktion von Phantomanie an einem asthmatischen Anfall erstickt. In seiner Rolle spricht er ununterbrochen vom Tod. Siehst du darin einen Zusammenhang?

Zownir: “Ich war gut mit Freddy befreundet und wusste, dass er seit seiner Kindheit Asthmatiker war. Im Grunde genommen hat er sich selbst gespielt und von ?ngsten geredet, die ihn ein Leben lang qu?lten. Aber gleichzeitig war er optimistisch, lebensfroh und hatte sich mit Humor und Charme dar?ber hinweggesetzt. Freddys Tod hat uns alle ersch?ttert. Jeder der mit ihm zusammenarbeitete, hat ihn gesch?tzt und gemocht. Ich h?tte noch viele Filme mit ihm gemacht.”

http://www.mironzownir.com/
http://www.myspace.com/zownirradicalman

IT WAS TRUE PUNKROCK!

Alec Empire interviews London filmmaker and musician Zan Lyons

Alec: “I think most of our readers might only be aware of your music, but you
have been almost more active in making films in the last years. Could you
please give them a brief introduction to your work…”

Zan:

“When I started making music the thing that excited me most was that I could do it all at home with just a sampler and computer. It was true punk rock. I’d have an idea turn on my machines and Jam.
I wanted to bring the same energy to films and then combine it with my sound!
All my films are shot, lit and edited by my me on my laptop. I also do all of the visual effects and post production. This means I can take my camera, shoot something and start trying ideas immediately.
It’s a powerful and liberating experience!”

Alec:” Many people say that video games will replace film one day. Do you agree?
Can video games ever achieve the same effect that films can?
Does it even make sense to put both in relation to each other?”

Zan:

“From an industry standpoint video games have already replaced film. Even in our current economic climate video game sales keep growing while film sales are shrinking. I think the reason is a simple one. Value.
Even though games are significantly more expensive than films the experience is much more involved. What happens on the screen is happening to you, not a character you passively empathize with. Film distributors need to start giving audiences more with their DVDs. The same lack of value destroyed music – even though the industry blames downloads. When you buy a game you are buying something that will absorb you for days – even months.
From a personal perspective, nothing will ever replace the magic of cinema and although Games offer a truly interactive form of entertainment, they are not yet able to compete with film in terms of story. Games like Metal Gear Solid and the Final Fantasy series have scratched the surface. I think we’ll start to see the two worlds collaborating in the near future. Brilliant storytelling not better graphics will really take gaming to the next level.”

Alec: “How influential is Asian film right now? It seems that Hollywood steals
more ideas from there than from anywhere else…”

Zan:

“Asia is without a doubt leading the world of cinema. Films like ‘The Ring’ and ‘Oldboy’ have completely changed films and have left Hollywood playing catchup. South East Asia always gets mentioned but India is also producing thought-provoking dramas as well as the colorful entertainment of Bollywood. Also a lot of people don’t realize that Bollywood is the biggest film industry in the world with Hollywood coming second place.
People working in Asia really know their craft and as a result, they make better films for much, much less money than Hollywood. Australian cinematographer Christopher Doyle has worked most of his life in South East Asia. He’s easily the greatest cinematographer working today but I doubt he would have reached this point if been swallowed up by Hollywood or even Europe.
Asian cinema keeps getting better and better and I think it will play a much greater role in years to come.”

Alec: “How important is authenticity or realism for you as a director ? Do they
both even matter?”

Zan:
“My films have lot’s of small details so realism is very important. I always use lighting to create a film’s atmosphere because it’s means the image comes to life in front of me and I can react to it. All of my effects are very simple and usually involve more camera work than computer effects. I want people to believe what’s on the screen.”

Alec: “Can you recommend 3 films to our readers? And explain why they should
watch them?”

Zan:

“The first is ‘In the Mood for Love‘. The way color and music are used to create atmosphere is amazing. It manages to feel like a classic 1960’s film and a modern one at the same time.

The second is ‘THX1138‘. I think this is one of the greatest science fiction films ever made. It has a sense of claustrophobia that I don’t think I’ve experienced since. There’s an impending doom from start to finish and it’s themes of government control feel more relevant today than ever before.

The final film is ‘Who Framed Roger Rabbit‘. It’s a perfect example brilliant family cinema. Children will love the cute charater animation and adults will enjoy all of the film noir references. Most importantly though, it’s 90 minutes of pure mind-bending fun!”

Alec: “Has technology left human imagination behind? Anything can be created
with the help of computers these days, but still most films out there lack
ideas? Why do you think that is?”

Zan:

“Technology can be great when used well but too many people seem to use it to make short cuts and cover over weak ideas. Films like Star Wars and 2001 were at the cutting edge when they were released but the initial ideas were good in the first place so the effects were just enhancements. I think we need to return to this way of thinking and use new technology as a creative tool.”

Alec: “Or is the problem rooted in our society, in which everything , even art
itself, has to serve only one goal: profit making?”

Zan:

“When Hollywood gets it right the results can be amazing. but unfortunately money often gets in the way. There are too many people who see film making purely in financial terms and they are usually the reason for bad films.
I think this will change though. Audiences aren’t stupid, if a film isn’t good people can just download it!”

Alec: “Are you thinking of doing a full length film one day?”

Zan:

“My new album will be a collection of 9 songs with a short film for each one. It will flow together running at about 45 minutes so it’s actually a full-length film.
You’ll be able to either watch it as a complete film or select individual chapters – or just listen to the music. Each viewer will experience it differently.
The music is all instrumental and the films have no dialogue. The sounds and images are heavily synchronized – I wanted to create a world that people get can lost in.

I also have two story-based feature films that I plan on making at some point. I can’t say too much at the moment but they’ll be made in a similar way to my shorts.”

Alec: “You did visual remixes of some scenes of Blade Runner. How did the
audience react to that? This film is often seen as the masterpiece that
nobody is allowed to touch…”

Zan:

“There was a strong reaction to it here in the UK for that exact reason. Audiences loved it though! When it began they thought it was just a live soundtrack but quickly discovered I’d re-edited the film as well. I used heavy synchronization between my own music and various scenes. I remember BBC Radio interviewing me asking if I was trying to make Blade Runner better! I was never trying to improve the film – that would be impossible. It was more like my own version. I had some clips on youtube but was asked to take them down by Warner Brothers:)”

Alec: “Do you think that most film scores push the audience far enough?“

Zan:

“Not at all. The last good film score I heard was ‘There Will be Blood’ It created an almost unbearable tension throughout the whole film.
Otherwise Most film scores sound either made-to-order or like a cynical way to promote a bands music.
Film scores are in real need of a a change!”

Alec: “Where do you think films will be at in 10 years? The same stories told with
different/younger actors?”

Zan:

“I think a revolution is coming! There will, of course be the same old money-making films but I think Digital Technology has put film making in the hands of everyone so I hope we’ll start to see new visions and different methods of storytelling.
There will definitely be less money to make films so people will have rely on ideas instead of funding to make good work. We’re already seeing this with people like Warp Films and Philip Virus.
I think we’ll also start seeing more films that take advantage of the internet rather than treating it as an enemy. Maybe interactive films where the viewer has a say in what happens next.
Like I said, tools that used to be exclusive to Hollywood are now in the hands of everybody. In ten years we’re going to see more films made faster, cheaper and for the RIGHT reasons!”

check out Zan’s films and infos here:

http://www.zanlyons.com
http://www.youtube.com/thisisourpunkrock
http://www.myspace.com/zanlyons

Regarding NIN music used at Guantanamo Bay for torture

It?s difficult for me to imagine anything more profoundly insulting, demeaning and enraging than discovering music you?ve put your heart and soul into creating has been used for purposes of torture.
If there are any legal options that can be realistically taken they will be aggressively pursued, with any potential monetary gains donated to human rights charities.
Thank GOD this country has appeared to side with reason and we can put the Bush administration?s reign of power, greed, lawlessness and madness behind us.

Trent Reznor

http://ninblogs.wordpress.com/2008/12/11/regarding-nin-music-used-at-guantanamo-bay-for-torture/

Hi you all – I’ve been doing book launches for my new book “Sound Unbound” for the last couple of months. It’s been one of MIT’s top selling books of the year, and basically, we’ve had an excellent run in cities like Berlin, London, Paris, Stockholm, Milan, Rome, San Franicsco, NY, L.A., Seattle, Boston etc etc The Vienna book launch is coming up in a couple of days. If you have any friends there, please forward the info. There’ll be lots of people from different scenes for the launch, and well… I think it’ll be pretty fun. If you still need info on the book, just go to the website: www.soundunbound.com <http://www.soundunbound.com/>

Details below:
in peace,
Paul

T O N S P U R f ? r e i n e n ? f f e n t l i c h e n r a u m

O p e n i n g e v e n t o f t h e s a i s o n 2 0 0 8 ? 0 9
T O N S P U R u n d B u c h h a n d l u n g W a l t h e r K ? n i g
p r ? s e n t i e r e n :

T O N S P U R _ l i v e / 2 7
P a u l D . M i l l e r a k a D J S p o o k y
t h a t S u b l i m i n a l K i d [ U S A ]
* 1 9 7 0 i n W a s h i n g t o n D C , l i v e s a n d w o r k s i n N e w Y o r k
S O U N D U N B O U N D S a m p l i n g D i g i t a l M u s i c a n d C u l t u r e .
E d i t e d b y P a u l D . M i l l e r ( T h e M I T P r e s s 2 0 0 8 ) .
http://www.soundunbound.com

B O O K P R E S E N T A T I O N + L E C T U R E ? P E R F O R M A N C E
S a m s t a g , 0 8 . N o v e m b e r 2 0 0 8 , a b 1 7 U h r
B u c h h a n d l u n g W a l t h e r K ? n i g + R a u m D / q u a r t i e r 2 1
M u s e u m s Q u a r t i e r W i e n
M u s e u m s p l a t z 1
1 0 7 0 W i e n

17 Uhr | Empfang | Buchhandlung Walther K?nig
17:30?18.30 Uhr | Lecture-performance | Raum D/quartier21
anschl. | Come together | Buchhandlung Walther K?nig

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Table of Contents and Sample Chapters
If Rhythm Science was about the flow of things, Sound Unbound is about the remix-how music, art, and literature have blurred the lines between what an artist can do and what a composer can create. In Sound Unbound, Rhythm Science author Paul Miller aka DJ Spooky that Subliminal Kid asks artists to describe their work and compositional strategies in their own words. These are reports from the front lines on the role of sound and digital media in an information-based society.

The topics are as diverse as the contributors: composer Steve Reich offers a memoir of his life with technology, from tape loops to video opera; Miller himself considers sampling and civilization; novelist Jonathan Lethem writes about appropriation and plagiarism; science fiction writer Bruce Sterling looks at dead media; Ron Eglash examines racial signifiers in electrical engineering; media activist Naeem Mohaiemen explores the influence of Islam on hip hop; rapper Chuck D contributes “Three Pieces”; musician Brian Eno explores the sound and history of bells; Hans Ulrich Obrist and Philippe Parreno interview composerconductor Pierre Boulez; and much more.

“Press ‘play,’” Miller writes, “and this anthology says ‘here goes.’” The groundbreaking mix CD that accompanies the book features Nam Jun Paik, James Joyce, Jean Cocteau, Allen Ginsberg, Iggy Pop, the Dada Movement, John Cage, Gertrude Stein, Aphex Twin, Sonic Youth, and many other examples of avant-garde music. Most of the CD’s content comes from the archives of Sub Rosa, a legendary record label that has been the benchmark for archival sounds since the beginnings of electronic music.

Contributors:
David Allenby, Pierre Boulez, Catherine Corman, Chuck D, Erik Davis, Scott De Lahunta, Manuel DeLanda, Cory Doctorow, Eveline Domnitch, Frances Dyson, Ron Eglash, Brian Eno, Dmitry Gelfand, Dick Hebdige, Lee Hirsch, Vijay Iyer, Ken Jordan, Douglas Kahn, Daphne Keller, Beryl Korot, Jaron Lanier, Joseph Lanza, Jonathan Lethem, Carlo McCormick, Paul D. Miller aka DJ Spooky that Subliminal Kid, Moby, Naeem Mohaiemen, Alondra Nelson, Keith and Mendi Obadike, Hans Ulrich Obrist, Pauline Oliveros, Philippe Parreno, Ibrahim Quraishi, Steve Reich, Simon Reynolds, Scanner aka Robin Rimbaud, Nadine Robinson, Daniel Bernard Roumain (DBR), Alex Steinweiss, Bruce Sterling, Lucy Walker, Saul Williams, Jeff E. Winner. Special thanks for Editorial Assistance to Roy Christopher.

About the Editor
Paul D. Miller aka DJ Spooky that Subliminal Kid is a conceptual artist, writer, and musician living and working in New York City. His artwork has appeared in the Whitney Biennial, the Venice Biennale for Architecture, the Andy Warhol Museum, and many other venues. His written work has appeared in such publications as the Village Voice and Artforum. He is an editor of the magazine 21c (www.21cmagazine.com <http://www.21cmagazine.com/> ) and the author of Rhythm Science (MIT Press, 2004).

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Endorsements

“What a marvelous collection! This provocative and wide ranging book is packed with a vast number of facts and theories: the sound of creation in the Vedas, the Muslim influence on early hip hop, mathematical permutations of bell patterns (Eno), the term ‘Emptyv’ (Chuck D). The essays criss cross over many aspects of sound–cosmic, chemical, political, economic. It sparks questions (Can sound be translated into light?) and presents bits of information like the name for Jamaican sound systems (’Houses of Joy’).

Plus you get to meet fascinating characters like Alex Steinweiss (album cover artist), Motown’s Berry Gordon and synthesizer pioneer Raymond Scott. And you get to consider how Bach’s style might have been influenced by his job copying Vivaldi scores. Reading Sound Unbound also invites you to reconsider techno hype, as when Bruce Sterling describes laptops as ‘colorful, buzzing cuddly things with the lifespan of hamsters.’ I love this book!”
–Laurie Anderson

“Paul Miller has grabbed disparate philosophies and references from the past five hundred years and tied them into a neat and interesting narrative on music, sound, and current thought in our time. Sound Unbound is an excellent reference on art–in the popular context–in the twenty-first century.”
–Branford Marsalis

“It’s a lovely eclectic collection that is a nice antidote to the usual way music and the history of music is often categorized into high/low, pop/classical, or black/white. I like Sterling’s analogy between our beloved high-tech media and inscrutable indecipherable archaic media like Incan quipus. From Raymond Scott to the hidden racism in digital circuitry to a history of easy listening, there is enough inspiring weirdness here to fuel some musical fires for a good while.”
–David Byrne

“Everything must be about one thing first, then it can be about many things. Paul Miller’s collection of texts is about one thing: the use of scanning in music and more generally the world around us. He gives us a single structure to put very different experiences and theoretical constructs into an overarching context. The result is always interesting and often illuminating. These essays by thinkers and practitioners range widely and produce their own static and interferences, but they fall into one perceptible rhythm. A good staging of an opera uses what you see on stage to make you hear better. Similarly, these reflections make it easier to tune in to the sometimes confusing soundscape of our dislocated, interrelated, networked times.”
–Robert Wilson

“For the maverick rhythm scientist Paul D. Miller, sound is liquid; it spills over and slips under categories, firewalls, case law, and legal codes to find us and move us. In the same way, his important collection of sound thinkers and sound ideas calls us to remove the fake ’security’ imposed on us by capital and state, and, more crucially, to reimagine freedom and reclaim our creativity.”
–Jeff Chang
author of Can’t Stop Won’t Stop: A History of the Hip-Hop Generation

“Paul Miller is one of the best cultural radars in the world today. He always picks out the most relevant people working today and reveals previously unseen connections. If you want situational awareness about the world of sound, music, performance, computers, and ideas, read this book.”
–Lev Manovich
Visual Arts Department, University of California, San Diego

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C u r r e n t
> > > T O N S P U R 2 6 : G o r d o n M o n a h a n [ C D N ] | E r r a t u m A d d e n d u m | T O N S P U R _ p a s s a g e | n o c h b i s 2 4 . 0 1 . 0 9 < < <

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U p c o m i n g
> > > T O N S P U R 2 7 : B r a n d o n L a B e l l e [ U S A ] | A r t i s t ? i n ? R e s i d e n c e | O p e n i n g S 0 2 5 . 0 1 . 0 9 , 1 7 h | T O N S P U R _ p a s s a g e | i n Z u s a m m e n a r b e i t m i t O R F ? K U N S T R A D I O < < <

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T O N S P U R f ? r e i n e n ? f f e n t l i c h e n r a u m
K l a n g a r b e i t e n i m M u s e u m s Q u a r t i e r W i e n
E i n P r o j e k t v o n G e o r g W e c k w e r t h u n d P e t e r S z e l y
S e i t 2 0 0 3 i m q u a r t i e r 2 1 d e s M Q
w w w . t o n s p u r . a t

TONSPUR 2003?04:
TONSPUR: Ulrich Kurt K?hn, Peter Szely, Andrea Sodomka, Christof Cargnelli. Artists-in-Residence: Andres Bosshard, Robert Jacobsen, Ulrich Eller.
TONSPUR_live: Miha Horvat mit Miha Ciglar und Samo Pecar, Elmar Fr?schl, Martin Siewert, Silvia F?ssler/Billy Roisz, Andres Bosshard mit Michal Rataj und Zlatan Vukosavljevic.
TONSPUR_expanded: ?Klasse Bernhard Leitner. Arbeiten aus dem Klanglabor Peter B?hm?, Ausstellung in der ERSTE BANK ARENA im MuseumsQuartier Wien, 15.03.04 ? 25.04.04. <http://25.04.04./> Mit Oliver Bokan [*1973 ?2006], Ferdinand Harnoncourt-Unverzagt, Miha Horvat, Hans-J?rgen Poetz.

TONSPUR 2004?05:
TONSPUR: Norbert Math, Eva Ursprung. Artists-in-Residence: Sylva Smejkalova, Kalle Laar, Sigtryggur Berg Sigmarsson, Alvin Curran.
TONSPUR_live: Klaus Filip, [dy'na:mo], Ulrich Troyer, Augusta & Kalle Laar, Thilges 3, Syl. Eckermann & szely, Alvin Curran & friends (Franz Hautzinger, Andrea Sodomka, Erdem Tunakan, Mia Zabelka).

TONSPUR 2005?06:
TONSPUR: Ulrich Troyer. Artists-in-Residence: Miki Yui, Miha Ciglar, Hans Peter Kuhn & Junko Wada, Florian Wachinger/Kay-Uwe Rosseburg.
TONSPUR_live: Bernhard G?l, Bernhard Loibner, Elisabeth Penker mit Tobi Maier, Miha Ciglar mit Anja Grauf, Oliver Hangl mit maschek.

TONSPUR 2006?07:
TONSPUR: Werner Reiterer. Artists-in-Residence: Michael Graeve, Robin Rimbaud aka Scanner, Florian K?hnle, Davide Balula.
TONSPUR_live: Florian Schmeiser, Heribert Friedl + nonvisualobjects with guests (Bernhard G?l, Daniel Lercher, Peter Kutin), Peter Brandlmayr, Robin Rimbaud aka Scanner, Andreas Paolo Perger.
TONSPUR @: fluc, Wien, 28.07.07. <http://28.07.07./> Live-Performance von Robin Rimbaud aka Scanner. @: ?SOUND EFFECTS SEOUL 2007?, Seoul, 07.09.07 ? 07.10.07. <http://07.10.07./> ?The Potential Meanings Of Sound?, Ausstellung u. a. mit Miki Yui, Werner Reiterer. Kuratiert von Georg Weckwerth.

TONSPUR 2007?08:
TONSPUR: Gerhard R?hm. Artists-in-Residence: Kris Vleeschouwer (TONSPUR_expanded), Terry Fox [*1943 ?2008], Tilman K?ntzel, Gordon Monahan.
TONSPUR_live: Bernadette Reiter, elffriede, Hofstetter Kurt, szely feat. fii.
TONSPUR_expanded: ?Vom Klang der Kunst. TONSPUR_expanded?. Ausstellung im Freiraum/quartier21 und im ?ffentlichen Raum des MuseumsQuartier Wien, 11.01.08 ? 24.02.08. <http://24.02.08./> Mit Davide Balula, Reinhard Blum, Uwe Bressnik, Judith Fegerl, Sabine Groschup, Robert Jacobsen, Via Lewandowsky, Paul McCarthy, Carsten Nicolai, Jakob Scheid, Dan St. Clair, Maurice van Tellingen, Kris Vleeschouwer, Tamara Wilhelm, Achim Wollscheid. Kuratiert von Georg Weckwerth.
TONSPUR_spezial: Julius Deutschbauer ?SCHIMPFARENA?, anl?sslich der EURO2008, Karlsplatz/Resselpark, Wien, 08.06.08 ? 04.07.08. <http://04.07.08./> 4-Kanal-Tonspur mit Maja Degirmendzic, Michaela Falkner, Dorothea Schulz, Julia Zborowska.
TONSPUR @: Austrian Cultural Forum, New York, 28.05.08 ? 13.09.08. <http://13.09.08./> Julius Deutschbauer/TONSPUR Vienna ?Insult Arena?, in der Ausstellung ?Bread and Soccer. In the Arena of Art?. 4-Kanal-Tonspur mit Johnny Bliss, Yuri Correa, Julie Ryan, Taraka Rojas. @: ARS ELECTRONICA 2008. ?Tribute to TONSPUR 2003?2008?, Klangpark Linz, 08.09.08 + 09.09.08. <http://09.09.08./> Mit Ulrich Kurt K?hn, Peter Szely, Andrea Sodomka, Christof Cargnelli, Klasse Bernhard Leitner, Andres Bosshard, Robert Jacobsen, Ulrich Eller, Eva Ursprung, Norbert Math, Sylva Smejkalova, Kalle Laar, Sigtryggur Berg Sigmarsson, Alvin Curran, Ulrich Troyer, Miki Yui, Miha Ciglar, Hans Peter Kuhn, Michael Graeve, Werner Reiterer, Robin Rimbaud aka Scanner, Davide Balula, Terry Fox, Julius Deutschbauer, Tilman K?ntzel, Gerhard R?hm.

TONSPUR 2008?09: Olga Neuwirth. Artists-in-Residence: Brandon LaBelle, Christina Kubisch, N.N.
TONSPUR_live: Paul D. Miller aka DJ Spooky that Subliminal Kid, Christian Fennesz, N.N.
TONSPUR_spezial: N.N.

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TONSPUR supported by
quartier21, bm:ukk, Wien Kultur, K?R, ?AB, SKE, BOSE

Many Thanks to
quartier21-Management + Vitus Weh

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Alchemy Gallery show & lecture in Austin TX @ St. Edward?s University

Everyone is welcome to attend the gallery show and lecture at the
university.

St. Edward’s University
The Alchemy Gallery Show

Lecture: Nov. 14, 2008 from 5?6 pm
Reception: Nov. 14, 2008 at 6?8 pm
Show Dates: Nov. 14 ? Dec. 10, 2008

Arts Building
St. Edward’s University
3001 S. Congress
Austin, TX

AND:

Signing at Austin Comics and Books on Nov. 12. My first signing in Austin.

Link to the University info for the Gallery here:

http://www.stedwards.edu/hum/art/student/index.html click here

The Gallery show will have ALL OF THE ARTWORK from THE ALCHEMY Kabuki story. And more!
A huge show of my work. Maybe around 300 pieces.

There will be a reception, discussion, signing lecture, etc. I think it is all FREE.

Bring a friend, bring a date. Have wine and cheese. Bring your books and I’ll sign them.

By the way- I sent all the art to the University to set up in their gallery. Here is what I sent for the show:

ALL of The Alchemy.
All nine issues. Around 234 pages of the complete story of The Alchemy of the full size original art work.

And an additional 100 artworks of various paintings and drawings, including Daredevil and Alias covers and many many personal works.

SO- Up to 334 artworks depending on how many the gallery can fit in their space.

www.davidmackguide.com
www.davidmackguide.com

EXPERIENCE DAVID MACK’S WORK LIKE NEVER BEFORE IN

KABUKI: THE ALCHEMY hardcover!

Eisner-nominated superstar writer/artist David Mack presents a
groundbreaking collection of his acclaimed work in Kabuki: The Alchemy HC.
Collecting all nine issues of the critically-lauded, Eisner Award-nominated
KABUKI: THE ALCHEMY series from Marvel’s creator-owned Icon imprint ? for
the first time ever! — this is an unprecedented look at Mack’s work!

This hardcover is chock full of bonus material including original scripts, a
“best of fan letters” section, never before seen art and new story pages,
including updated versions of previously published scenes! If that’s not
enough, acclaimed Fight Club author Chuck Palahniuk provides a powerful
introduction to one of comics’ most acclaimed series and a special afterword
from Mack himself!

“At 320 pages this is the largest collection of any of my work, and I think
the most diverse and best example of my work in comics,” explained Mack.
“The Alchemy is my favorite of the Kabuki volumes so far and my most evolved
work as both writer and artist.”‘

Plus, don’t miss the Kabuki: The Alchemy Limited Edition HC, packaged with a
signed and numbered original brush & ink sketch on parchment paper! Both
Kabuki: The Alchemy HC and The Kabuki: Alchemy Limited Edition HC feature an
embossed cover and spine; watermark design on the interior pages; and a
special bookmark!

KABUKI: THE ALCHEMY HC (APR082337)
Written by DAVID MACK
Penciled by DAVID MACK
Cover by DAVID MACK
Rated T+ … $29.99
FOC — 9/25/08, On-Sale — 10/29/08

KABUKI: THE ALCHEMY HC LIMITED EDITION (APR082338)
Written by DAVID MACK
Penciled by DAVID MACK
Cover by DAVID MACK
Rated T+… $59.99
FOC — 9/25/08, On-Sale — 10/29/08

http://www.davidmack.com/

Caroline Wimmer wrote about the evacuation of a school near Boston in the USA in 1999,
when an ATR poster for “60 Second Wipe Out” alerted the local authorities…
You can purchase this book here