Sunday, November 28, 2004

Update on current projects etc...

*"Moss" CD at the factory. Should have it 10 days time.

*Automating show a blast. Burquitlam Plaza covered Sade's "Lover's Rock" album all the way through.

*Proposed second conect_icut CD - "Fort" - finished and easily my best work. Now I just have to persuade someone to pay for its release.

*"Moss" release party - Jan 15th at Blim.

*Amazing picture of J Balance in his coffin on the Threshold House website.

*Busy busy busy.

Sunday, October 24, 2004

Lapses in blogging are often due to Not Much Going On. But this time - I swear - it's due to Too Much Going on. I've had business to take care of - music - business. Perhaps there will be a connect_icut CD soon?

Other highlights include playing a truly storming Bastion Mews show to ten people and a dog (I'm not making that up, BTW) and then getting paid half what we were told we'd get. Also going to see Value Village People at New Forms and finding out that New Forms is not a multi-media arts festival at all - it's a bunch of hippy computer programmers using public money to have a "rave party". Pathetic. I had to pay $20 to get in which is exactly how much VVP got paid. Nice to have all your worst suspicions confirmed sometimes.

Sunday, October 10, 2004

Just found out last night that Brady C wants the Bastion Mews to do a show next Sunday (the 17th, I think) at the Or Gallery. It's in the afternoon as part of some art opening or something, which runs between 2 and 4pm. The band will consist of me and Larissa from P:ano. Of course I haven't cleared this with her yet and I haven't booked the day off work, which is going to be tricky as I'm suppossed to give 2 weeks notice of any days off. But the show must go on and it will.

Talking of Brady, his Open Circuits festival was this weekend. It was a much more low-key affair than normal with basically zero publicity and mostly unknown artists (and good turn-outs nevertheless). Highlights were Joshua Stevenson's solo guitar-through-synth-module performance (but that's a no-brainer) and this young trio called In Flux. Now, I know that that's a terrible name for a band but these kids are REALLY YOUNG so I guess they don't realize what a cliche it is. What is it with all these trendy youngsters forming noise bands? I guess the direct reason is that whole Black Dice scene - one of In Flux was even wearing a Wolf Eyes t-shirt. Whatever the case, they made a pretty damn bracing and accomplished gadget-based noise. I wonder what percentage of guitar pedals never actually get plugged into a guitar these days...

Sunday, October 03, 2004

Yes it’s true! There are now four (4!) new connect_icut CDRs available. These CDRs can and will be sent/given to anyone who really wants them free (free!!) of charge. The CDRs feature only the finest tripped-out abstract electronica. They are un-mastered home-jobs, which come packaged in easily-filed paper-‘n’-plastic slipcases. The first three discs constitute my third “trilogy” of half-baked musical escapades, while the fourth is a compilation of highlights from said trilogy. The first three discs feature ALL NEW ILLUSTRATIONS detailing The Sneefler’s activities during her holiday in West Wales this summer. Here are some more details:-

Disc One. “Four” – Originally conceived as a three-disc vinyl set, the CDR version of “Four” is a not-at-all-seamless edit using elements of all of the original six tracks. It’s an extremely dark and brooding hour of music which formed the basis for my performance at the Panic/Sleep event last month.

Disc Two. “Wheeee!” – Two long tracks detailing my attempts to discover how to make the Black Dice sound. Kinda.

Disc Three. “Oceanic Epilogue” – Another two long tracks that were supposed to be soppy new age music but ended up as synapse zapping psychedelia. Sorta.

Disc Four. “Third Trilogy (Abridged)” – The aforementioned compilation features a track from the unabridged version of “Four”, IN FULL (not available elsewhere).

If you want any or all of the above discs just let me know. If you need them sent by mail, just remind me of your address and I will make it happen.

Thanking you in advance for your continued support and interest.

Sam M/connect_icut.

In other news, although I am not playing at the following event, I commend it to you nevertheless.

open circuits
experimental electronic music festival

thursday 7 october - guitars
niccolas bragg
jonn olsin
joshua stevenson

friday 8 october - laptops
jesse scott
michelle irving
julian gosper

saturday 9 october - electonics
todd mason
in flux
ken roux

$7 at door doors 8:30pm shows 9pm
or gallery 103 / 480 smithe street 604 683 7395

Tuesday, September 28, 2004

Forthcoming connect_icut show: Blim, Fri Nov 26th 2004 (full moon !) w/Crys Cole, Burquitlam Plaza and (maybe) Parks and Rec. There may also be a Bastion Mews hippy jam session coming up at some bookstore on Main but I don't have any details on that yet. Watch this space for updates on both events.

Have regained contact with that superb human being Ian Hirvonen. Unfortunately, I had to use "Friendster" to do it. "Friendster" is creepy.

Finally caved in and bought a used CD of the latest Animal Collective CD. Usually if I buy something relatively new it sinks without trace commercially, so I wanted those guys to have a crack at building up a fan base before I jumped on the bandwagon. Well, they seem to be pretty popular now so... A lot of avant rock snobs kinda look down on the AC/Black Dice scene but I have to tell you, I think these kids are really onto something unique, beautiful and creative. The album's fucking fantastic and not quite like anything else.

What's most exciting, though, is that - as with Tigerbeat6 a few years back - these guys are turning a bunch of punk/hardcore/emo fans onto some pretty abstract sounds. So what happens when these kids form bands? Can't wait to see.

In other news, I have finished work on the second trilogy of connect_icut CDRs and will be handing them out to people once I've nice little sleeves for them (all featuring pictures of The Sneefler's summer vacation in West Wales this year). The albums are called "Four", "Wheeee!" and "Oceanic Epilogue". Hopefully, two "proper" CDs will be available at some point collecting highlights from these two trilogies. Fingers crossed.

Sunday, September 26, 2004

I suppose Ween have had pretty much had the last word on liking "bad" music, with the wildfire success of their deliberately annoying pastiche rock.

Talking of pastiche rock, I just saw that Dandy Warhols/Brian Jonestown Massacre movie "Dig!" It's very well put together, thoughtful and entertaining with pretty high (post)production values - so I think it will probably be fairly well distributed. And, yes, that Anton Newcombe certainly is a crazy person. Whereas the Dandys have made a living out of playing with the past, Anton has no choice but to live in it. That's gotta hurt.

Talking of living in the past, I did go to see The Pentangle's John Renbourn and Jaqui Macshee in a church in Vancouver the night before last. The whole experience was quite an eye-opener. First of all there were about 500 people there (as oppossed to about 150 at Pan Sonic the previous night). Also they were ALL English. PLus, I was the only person there who didn't have a bald patch and a beer belly (and that includes the ladies!) I'd have to go back to the days of primary school country fairs to remember a time when I'd seen so many frumpy, middle-aged Englishpeople in one place.

Actually, the show was great. Jaqui's voice sounded a little worse for wear, but her a capella numbers were still stunning. Renbourn's playing is still incredible although the audience seemed more impressed by his straighter playing than his wilder moments (perhaps they thought his lapses into arhythmicality were mistakes?) They ended with an absoloutely enchanting version of "Cruel Sister" and I went home very happy.

The whole folk club thing really is strange though. Why is it necesarry to always make jokes about drinking and how miserable English folk songs are. Will the audience riot if you don't? Is that what these frumpy English people are paying for? I don't get it.

Friday, September 24, 2004

Pan Sonic review written in haste for Discorder......

Pan Sonic
-outhern acific+
Richard’s on Richards
September 23
How strange, to experience an abstract electronica show within the drafty and sticky-floored environs of Richard’s on Richards. Certainly it wasn’t the ideal launch pad for one of -outhern acific+’s tripzone excursions. –oa+ is the nom d’electronique of Vancouver scenester extraordinaire Joshua Stevenson, a sometime member of continent-spanning free-rock phenomenon Jackie O Motherfucker. You never know quite what to expect from an –oa+ show – glitchy computer music, proggy ambience, recontextualised world music... On this occasion he employed all manner of distressed analogue hardware to create a murky, nocturnal fug - similar to that conjured by UK dark ambient veterans :zoviet*france:. The set was well complemented by a projection of flashing, fading lo-bit visuals but - let’s face it – this kind of thing is better appreciated whilst contemplating the texture of one’s bedroom ceiling or the floor of a nice white-cube gallery.

As soon as Finland’s kings of brute minimalism took the stage, it became clear why we were standing in a cavernous rock club, not sitting in a cosy art centre. Pan Sonic’s current sound – as displayed at extraordinary length on the recent four-CD set Ketso ­– is LOUD. Though their modus operandi of beats’n’drones has remained firmly intact, Mika Vainio and Ilpo Vaisanen have at least progressed enough as artists to allow generic influences to seep into their fundamentally hermetic sound-world. Pan Sonic 2004-style deploys blasts of mid-range noise that would impress any metal act worth its salt and booty-shaking beats low-slung enough to shame a Miami bass producer. In short, they rocked and nerds were seen to dance (a spiritually enriching, though aesthetically un-edifying sight).

The visual accompaniment for the set comprised a simple black line that waved and fragmented in response to the music. Though the relationship between sound and visuals was clear, what was more striking was how the projection reflected the remarkable physical and psychological responses induced – big, hip-swinging waves for the elektro beats, chaotic snowstorms for the gushes of white noise. Through sheer force of Pan Sonic will, the duo made us forget about beer-sticky floors and autumnal draft for one mesmerizing hour. Truly transporting – clearly a little still goes a long way.
Sam Macklin.

Thursday, September 23, 2004

Oh Yeah! Tom Waits! But he doesn't really fit either mould.

As I remember the story, he was a pretty mellow Randy Newman style singer-songwriter until his wife noticed that Captain Beefheart had retired and a gap had opened in the market. So then you got "Swordfishtrombones" and the rest of history. And it's mostly been pretty great stuff, funnily enough. He through his heart right into it and he never let up. I heard a bit of the new album the other day and it sounded like Neubauten! A unique figure to be sure.

Been going to lots of show this week. Fantastic P:ano show at the Railway (the best ever!) which featured a line up of ukelele, bass clarinet, accordion and floor tom. The Great Aunt Ida at a little cafe on Main. Great stuff and why not better known? Tonight Pan Sonic and Outhern Acific at Richards of all places. And then the next day (maybe) John Renbourn and Jaqui Macshee!

Tuesday, September 21, 2004

Generally it's a thing in the arts that people start out dark and angry and then mellow with age. Usually, the early period sees the artists producing her/his best work and the quality tails off with the mellowing process. I've been noticing increasing numbers of anomilies to this general rule.

I've mentioned before about prefering the under-appreciated later work of certain goth bands (notably Coil). Another good example would be Blonde Redhead. I don't like anything before their recent "sell out" album, which I think is kinda good. Then, of course, there's Jonathan Richman... Of course, these are my opinions and it's the opinions that are anomolous. Most nerds would disagree with me and the rule would stay in place.

Then you have people who start off producing mellow, charming work and then go all dark. The two who spring to mind are Gilbert Hernandez and Lukas Moodyson. Compare the early "Heartbreak Soup" comics to the joyless, pornograhic crap Beto pumps out now. Or compare "Show me Love" to "Lilya Forever". Jesus! What happened to these people. Are there any examples of this happening in music?

Monday, September 20, 2004

Re: Liking "bad" music. I think I've decided to stop getting uptight about this and just get on with listening to what I like, not caring what other people think. I still find it fascinating that nobody is prepared to tell me why they listen to what they listen to. It seems like a pretty fundamental issue. But it's not "cool" to be honest about why you like things, I guess.

Tuesday, September 14, 2004

This is a personal plee to Dave Hirvonen and Ian Forsyth. I need to contact both of you but don't seem to have a current email address for either. If either of you read this, please get in touch.

Normal service will be resumed as soon as possible.

Monday, September 13, 2004

Sleep Night 2

Josh Rose - Rejected his usual Ekkehard Ehlers-style ambience in favour of finely exucuted concept art. Basically he turned on a poorly-tuned clock radio, then had a lie down for 10 minutes. The radio was almost tuned to a station playing impressionistic contemporary piano music. Might seem wanky but it worked really well and rewarded some focused listening. Not sure people knew what to make of it but it obviously affected them. Before the "set" everyone was chatting noisily. Afterwards, they whispered.

Lee Hutzulak - Nice electronic set from the improv guitarist, Gastr Del Sol devotee and charmingly flakey artist-about-town. Used several bags of polysyrene pellets and a 4-track mini-disc desk to produce post-glitch music concrete that got all melodic towards the end.

Couldn't stay for the closing improv quartet but as it featured LSim and two ex-members of The Beans, I'm going to say it was probably pretty good.

Turn out v. good for both nights, esp.Sat. Oh why did I agree to play Panic?

Sunday, September 12, 2004

Sleep Night 1

Katharine Norman - Didn't arrive in time for her. Had to go to a birthday party. But I got there just in time for...

Muarena Helena - Very nice droning for prepared guitar and Korg synth a la Main, Stars of the Lid et al. I get the feeling that they haven't been at it too long but given a bit a practice they coud just nail it.

Joshua Stevenson - Awesome, natch. Glorious quadraphonic dronage in an early minimalism stylee. Basically a recording of Josh playing a "Chinese mouth organ" played with a time lag between each speaker. Had I been lying on a big comfy bed, I could have listened to this all night. On the hard floor of Blim, it seemed a tad overlong. Fantastic, nevertheless.

Loscil - Left before he started but you fucking KNOW it was awesome. He was certainly awesome the million times I saw him before (which is why I didn't feel obliged to stay past midnight to see him this time - hey! I have to work on Sundays).

Monday, September 06, 2004

Panic - Night Two

Crys Cole Trio - Crys joined by Brady C and Josh Rose. Really great ominous/jarring free improv. Wish she'd play out more because she does really unique and interesting stuff. Very hardcore and pure. Admirable.

Me - Not bad. Seemed to go down well.

Flat Grey - Excellent internal-mixer feedback and guitar pedal manipulation. Almost as Panic-inducing and Daniel and Niall but more musically sophisticated. Toward the end of his set, he reached over to a backpack and pulled out two ominous-looking tannoy things. This was genuinely scary. In fact, they turned out to make a sort of car-alarm noise. For a moment I though a full-blow sonic attack was going to turned my insides to liquid. Panic. Nice guy to.

Turnout - Awful. Mortifying. Amazed how many people DIDN'T show up in spite of the facts that: (i) They are my friends; (ii) They actually like this kind of music (more than I do in some cases!); (iii) I told them about the show repeatedly. Sincere thanks to the few who did make the effort esp. Cheryl and Brian (because it's really not their kind of thing) and Josh Stevenson (he recorded part of my set on his new cell phone and claimed it would become his new ringtone).

Next week - Sleeeeeeeep.

Sunday, September 05, 2004

Panic Night One Report.

Brady Cranfield - Very nice abstract computer sound. Maybe a little too nice - not panic inducing in the least. But it's good to see someone taking part was trying for something subtle. Unlike...

Daniel Giantomaso + Niall Morgan - Two white-belt trendy types standing on a home-made metal stage with various lights attached and huge racks of gear bolted to each end producing hilariously brutal spurts of electronic noise. Great stuff in the Wolf Eyes mould and genuinely upsetting. Definitely not subtle though.

Nicole Sanches - Fantastic 3-minute sound piece using recordings of small boys making explosion sounds with their mouths. Source material progressed from recognizable to and uncanny and back again.

The Rita - AKA Sam McKinlay. Had to leave before his set but I've seen hime before. He does pretty obvious harsh noise but damn he does it pretty well.

Turnout: Fairly good all things considered. Nice to see some familiar faces even if most of them did leave after Brady's set. Second act brought in lots of style-mag types which was kinda neat.

Nervous about tonight. Wish I could just play normal connect_icut music - then I know it would be good. Still, I guess it's good to challenge oneself. Weird to be playing a festival based on polar opposite concepts when all of my music is aimed at eradicating such binary splits - or at least toying with them.

Thursday, September 02, 2004

Final reminder:-

where: blim #600 23 w.pender (across from tinsel town)
when: september 4th, 5th, (panic) 11th, 12th (sleep) 9:00 pm each night
who: 5th: crys cole, connect icut, flat grey


Now then, some "wrong" tastes for you to acquire. There are plenty of artists whose work can be divided into the Good and Bad years. Often, I find myself prefering the Bad stuff. The big examples being:

Coil - Much prefer the later tree-hugging prog stuff to the early industrial psychedelia.

Jonathan Richman - Much prefer the later acoustic novelty rock to the first Moder Lovers LP

But also -

D Bowie - Never got into him but I do kinda like the really early stuff in a "ha ha" kinda way.

Current 93/NWW - C'mon goths! Admit it! They just got better.

There are more but I can't think of them now. Would welcome your own examples to
Maybe I should stick up for myself more. Okay, okay, I admit it! I HATE the consensus about what constitutes classic (or simply GOOD) music. There! Are you satisfied? The thing is, the consensus seems to be getting stronger and narrower every day. Plus more and more civilians/members of the general public seem to be clued into what used to be the territory of music nerds/rock snobs. It's becoming less like consensus and more like hegemony. Perhaps that's why I've clearly been reacting against it and liking "bad" things.

I think we have to change the terms of debate here. I think that, all along, I haven't been talking about "good" and "bad" taste but "right" and "wrong" taste. I urge you to embrace your Wrongness. Glitch taste! Surface noise taste! It's another manifestation of my tiny personal war on perfection.

Hopefully, upcoming posts will feature examples of my "wrong" tastes.

Tuesday, August 31, 2004

Becoming increasingly interested in the idea that there IS such thing as good and bad music and that I simply don't have consistently good taste. This all relates to an issue that I've been trying to get people talking about for quite a while but nobody wants to take me up on it. I think it hits a bit too close to home. Personal taste/fandom is considered childish - we're supposed to discuss music in a detached fashion; as if it's all for the good of society. Music for me has always been an intensely personal/private thing, even when it's in a public/communal context (rock show/dance club/jam session). Music is selfish bastard that wants you all to itself. So why discuss it in this faux scientific/pretend objective fashion and then claim that it's all subjective anyway - which is what everyone seems to do. Why won't anyone talk about WHAT THEY REALLY BUY/LISTEN TO AND WHY THEY DO IT?????

Anyway, it seems to me that a pretty clear record-buying consensus develops about most things - EG (and esp.) what albums by an artist are good and which ones are bad. This, it seems to me, to be a very close way to an objective way of RATING music. I feel qualified to say this as someone who often disagrees with the consensus (as do most of - me probably more than most, though). I do respect the consensus but I tend to find it a little dry. Perhaps this is what Ian Forsyth is getting at when he talks about the joys of bad music. Maybe I'm talking about the joys of bad (or, more accurately WRONG) musical taste. Or maybe I'm just talking out the Gary Glitter.

Sunday, August 29, 2004

Never realised there was a version of "Die Interimslibenden" by Einsturzende Neubauten IN ENGLISH, until someone just put it on at work. It was fun pretending that it was a song about how great my "band" is.

Which reminds me. I've spent a lot of time recently trying to re-open my online correspondences. Since then I've been getting some pretty great email but, ironically, very little of it has been as a result of my efforts. The best one was an email from someone who'd found the most recent Interim Lovers CDR lying around his house, listened to it, liked it but didn't know what it was or how he got it. Turns out it was a guy I know in London and the CDR had been passed to him by a mutual friend. Perhaps my first unsolicited piece of sincere positive feedback. Hi Charlie!

I've also opened a correspondence with a guy who rund a label and small distro in Vancouver called Flesh Eating Ants - which I had previously been totally unaware of. (I thought it was a terrible name until I was the website. Perhaps Cute Flesh Eating Ants would be better.) They seem to specialize mostly in deluxe Legendary Pink Dots editions. The guy behind it seems really nice. Hoping I can persuade him to help me put out a connect_icut LP or CD at some point in the future.

However, he's trying to get out of the whole high-end vinyl thing just as I was staring to want to get into it. I understand it's a big money loser but I really feel like if your going to make the leap from giving out free CDRs to SELLING something, you should create something worth buying. Obviously I'm never going to make any money from connect_icut so why not use it to create something beautiful - a ritual object with a meaningful relationship to the music contained therein. CDRs and downloads are fine but records (and CDs) are (or should be) a whole multi-media experience and should set the tone for how the listener approaches the music. Packaging and format allow the artist to retain some control over the context in which the work is heard - before the whole thing gets sucked into the late-capitalist sink hole and becomes just so much more noise/land-fill material.

Which is probably just me excusing my nerdy record collecting habit.

Wednesday, August 25, 2004

Animal Collective/Black Dice show the other night v.good. Anml Cllctv are clearly on to something - genuinely original and heartfelt avan-rock. Their cooing and oozing and repeating and jumping and yelping would all seem very contrived and wanky if they didn't do it with such passion and aplomb - they push it way into the realm of the sublime. BD were a bit disappointing, truth be told. Big nasty grey skabs of noise produced by three extremely stoned looking rich kids. On their last two records, even the noisiest sounds they use have an element of prettiness to them but that didn't come across live. Still, they had their moments, esp. when the V Reilly-esque guitar chimes started to come through.

More sidturbing was the fact that over 50% of the people I know in Vancouver were at the show. On the one hand it made me feel like the popular kid when people like Jeremy Schmidt (aka excellent Space Rock project Sinoia Caves - I think he was drunk) started speaking to me. On the other hand, the statistics of the situation made my world seem rather small.

Most recent musical acquisitions - Johnathan Richman and the Modern Lovers (2nd album on Get Back 140g mid price red vinyl) C93 "Of Ruine or Some Blazing Starre" (used CD) and Fall "Perverted by Language" (LP bought on Ebay to replace CD).

Monday, August 23, 2004

Yeah Yeah Yeah.

I forgot to fully explain my "two shows in two nights" comment. Tonight I'm going to see Animal Collective and Black Dice at Mesa Luna (a Mexican restaurant just around the corner from my house!) I rate these bands both very highly and commend them to you. Perhaps the real American post-rock is coming from New York now, not Chicago 8 years ago. Discuss.
Two show in two nights! It's like being in my 20s again!

Went to see Ladyhawk and Jon-Rae Fletcher last night at the Butchershop. Ladyhawk had been described to me as "the hottest new band in Vancouver". Plus, a shocking amount of shockingly young people turned out to see them. So my expectations were high.

Sadly, they turned out to sound like Conner Oberest fronting My Morning Jacket - which is the last thing we need, frankly. In their defence, I would say that they do it, really, really well and that, yes, they're probably going to be very popular (at least locally).

Then Jon-Rae got up on a stool with his acoustical guitar and started to wail and titter drunkenly. It was pretty compelling outsider roots-rock stuff for about 20 minutes until the cops showed up. The venue, you see, is a small arts space in a residential neighbourhood. I guess the nieghbours complained (and frankly, I'm not surprised). So that was the end of that.

On the way home we listened to Mirah's "C'mon Miracle", which Kris just bought. It's really great stuff, especially the tracks produced by Phil "Microphones" Elverum. Can't believe I slept on this one for so long.

Sunday, August 22, 2004

Because the new Bark Psychosis CD "Codename: Dustsucker" is selling surprisingly well at the store I work at, and because a copy of their compilation "Independency" just sold on Ebay for $36US....

I think it's finally time to make my CDR compilation of early '90s UK first-wave post-rock. Artists who may be included: Disco Inferno, Bark Psychosis, Moonshake, Laika, Main, Flying Saucer Attack, Butterfly Child, Papa Sprain, Main, God, Ice, Techno Animal, Insides...

It'll probably be called "England Invented Post-Rock, Not Chicago (Vol 1.) If you want a copy, email me your home address. Also, email me if I've missed any essential bands off the list. As ever, questions and comments to
Just remembered something else I wanted to say on my favourite subject of Why I Seldom Blog. Lack of feedback! Please, if you happen to stumble upon my blog, please write to me at

even if you have nothing to say! Please!
Well, after not blogging since Feb, this is my second post of the day. I was shocked at first to see the new Blogger interface and, for a while, though it wasn't working (it seems to take a while to publish posts). But now I seem to have it up and running. The previous post of the day was to publicize an upcoming connect_icut show in Vancouver. While I was about it I thought I'd, as usual, explain why I haven't been blogging much lately.

(i) As someone whose made bits and pieces of my income over the years in journalism, editing and copywriting, writing has really come to seem like work; a chore.

(ii) Since starting to put my money where my mouth is and MAKE music, I've found that I've had less and less to say ABOUT music. Because I'm expressing my ideas about music and its context THROUGH music, I'm using an infinitely better format - one that goes way beyond what language can do. I know that sounds pretentious but it's truly the way I feel. I still love good music writing, though, and wish there was more of it about.

(ii) Music blogging seems to be more of a genre than a format. That is to say, it seems to me, that if you're writing a blog about music, you're writing about "grime". I've heard bits and pieces of this new genre of British electronic dance music and I just don't get it. Maybe it's because I don't live in the UK any more but I just can't relate. Therefore, I find it hard to want to communicate with bloggers as peers. I did just write to Simon Reynolds and ask him if in admitting to myself (and everyone else) that I am a 30something white indie rocker, I was declaring myself his enemy. He never got back to me (perhaps he was offended?) Anyway, I still love Simon Reynold, even if I don't know what the hell he's talking about most of the time these days.

(iii) I am going throught the obsessive early stages of Ebay use. This takes up most of my online time. I think, having managed to buy a couple of things (and having run out of CD/record storage space at home) that this will be over soon.

(iv) I know longer believe that the world is about to end. Or at least, I know longer want to talk about it.

(v) I have come to realize that just because I like something, doesn't mean it's good. I mean, come on, there's no excuse AT ALL for the Legendary Pink Dots. This realization has made me start enjoying The Streets though. Who says there's no such thing as so-bad-it's-good?

There's more to say, but my lunch break is over. Let's hope I can keep this spurt of activity up, eh!
where: blim #600 23 w.pender (across from tinsel town)
when: september 4th, 5th, (panic) 11th, 12th (sleep) 9:00 pm each night
who: 4th: brady cranfield, daniel giantomaso/niall morgan, nicole sanches, the rita
5th: crys cole, connect icut, flat grey
11th: katharine norman, maurena helena, joshua stevenson, loscil
12th: josh rose, lee hutzulak, palermo/sim/udell/todd/henry
what: new works from local experimental and improv sound artists concerning the physical nature and effects of sound. 4 nights of physically immersive sound.
high lights:
panic: harsh noise artist the rita. experimental sound artist and open circuits organizer brady cranfield, who has opened for such acts as the oval and stars of the lid. vancouver via montreal sound artist and improviser, crys cole.
sleep: local ambient producer and kranky records recording artist loscil. longtime vancouver/edmonton noise and ambient artist josh stevenson most recently of american improv noise outfit jackie-o-motherfucker. visual and experimental electronic artist lee hutzulak. stefan udell of the beans, long time electronic improviser and artist lawrence sim, with parallela regulars and free jazz improvisers palermo, todd, and henry
It's been so long since I last blogged (Feb, I think) that the Blogger interface has totally changed. Bloody hell!

The main reason I'm posting now is to try and give my next connct_icut show whatever tiny modicum of publicity it can get. However, I have been thinking of taking up blogging again. The main reason I don't do it more often is lack of feedback. So if you read this, please email me at

even if you have nothing to say!

Anyway, here are the details of the show.

where: blim #600 23 w.pender (across from tinsel town)
when: september 4th, 5th, (panic) 11th, 12th (sleep) 9:00 pm each night
who: 4th: brady cranfield, daniel giantomaso/niall morgan, nicole sanches, the rita
5th: crys cole, connect icut, flat grey
11th: katharine norman, maurena helena, joshua stevenson, loscil
12th: josh rose, lee hutzulak, palermo/sim/udell/todd/henry
what: new works from local experimental and improv sound artists concerning the physical nature and effects of sound. 4 nights of physically immersive sound.
high lights:
panic: harsh noise artist the rita. experimental sound artist and open circuits organizer brady cranfield, who has opened for such acts as the oval and stars of the lid. vancouver via montreal sound artist and improviser, crys cole.
sleep: local ambient producer and kranky records recording artist loscil. longtime vancouver/edmonton noise and ambient artist josh stevenson most recently of american improv noise outfit jackie-o-motherfucker. visual and experimental electronic artist lee hutzulak. stefan udell of the beans, long time electronic improviser and artist lawrence sim, with parallela regulars and free jazz improvisers palermo, todd, and henry

Sunday, February 29, 2004

Like most people who have a Blog, my blog mainly consists of explanations of why I haven't written anything in my blog for ages. I mean this most sincerely: I've been very very busy. Haven't even had time to work on any music for ages (although there is the real possibility of the Interim Lovers finally putting out a CD this year). Most of my online time in the last 6 weeks has been taken up by the lastest in a long line of attempts to get "Off the Wire" off the ground. Email me RIGHT NOW if you're even remotely interested in joining. Please, don't be shy. I have dealt with the spam problem. I swear. Would I lie to you?

Quick list of people I have a lot of anitpathy towards right now:

Dave Sim
Elvis Costello
John Lucas

See you next month, I guess.

Wednesday, January 07, 2004


Can't believe I didn't put "Harnessed the Storm" by Drexciya in my end of the year list! My forgetfulness is particularly unforgivable as one of those guys DIED this year. Anyway, it's a great album for all of those of you who enjoyed stripped-down electro-funk with proggy concepts glued on.

Sunday, January 04, 2004

Very long gap, I know. No excuses, cos there are no excuses but I do resolve to write more this year. Thye first thing that's going out of the window is proof-reading. Takes too long, mate. You'll just have to get used to lots of lovely spelling errors etc...

So I finally turned 30 on Jan 1/04. Very depressing but there you have it.

On the bright side, lots of lovely holiday loot to dig thru, incl "England's Hidden Reverse" and the 1st Young Gods Album on CD (I only ever had a dubbed cassette). Also: 24 Hr Party People DVD; lots of comic books; two books about The Fall; Tenanbaums DVD etc..

Also buying lots of LPs incl anything I can grab by Tim Buckley (at last! I get it!), lots of C93, NWW wax + some hip-hop classics by Wu-Tang+Gang Starr.

Finally saw "Kill Bill". It sucked ass.