This is my submission to Warren’s Station Ident series.
I’m going to put the kettle on.
Thank you Mr. Ellis.
(T)
update:
“F L U X” by Candas Sisman (2010)
“Girls Night Out” by Joanna Quinn (1988)
Showing, Telling, Watching
“The concept of social identity seems to address the fascination of Tumblr that’s not happening with the other social networks. People are sharing these extensions through a different prism. Instead of creating multiple-identities, it appears as if Tumblr fosters both our voyeuristic tendencies (looking in on someone’s Tumble posts) and our expressionist ones (exhibiting your personality via what you decide to share, be it video, audio, text, links, thoughts, or whatever), allowing users to represent themselves in a more complete and dynamic way. Tumblr is positioned to be the antithesis of Twitter and Facebook because it’s a platform for the cross-section of the open digital generation, one that believes in watching and exhibiting. And cats.”
How we made the sound for “Toad”
I haven’t been well the last few days, mostly sleeping and dreaming.
One day I was remembering an old friend of ours, who still is very dear to us, but to whom we haven’t spoken for a long time.
Around the time we hung out, I was trying to make a film about a Toad that sat underneath a giant tap to keep itself alive. I needed a soundtrack, so I stealthily rigged up the old Juno and programmed it up with a crazy organ noise. S’ was out at the previously mentioned friends house and came back in a rather chilled mood. Unprompted, she sat at the keyboard and straight out played this, I had the 4-track ready to go and caught it.
Many years later I finished the film, and here it is.
I watched it a few days ago and realised that behind the toad thing it’s a concealed love letter from us, to our dear friend.
This post is for her.
from “Fossil Angels” »
“…We could, if we desired it, have things otherwise. Rather than magic that’s in thrall to a fondly imagined golden past, or else to some luridly-fantasized Elder God theme-park affair of a future, we could try instead a magic adequate and relevant to its own extraordinary times. We could, were we to so decide, ensure that current occultism be remembered in the history of magic as a fanfare peak rather than as a fading sigh; as an embarrassed, dying mumble; not even a whimper. We could make this parched terrain a teeming paradise, a tropic where each thought might blossom into art. Under the altar lies the studio, the beach. We could insist upon it, were we truly what we say we are. We could achieve it not by scrawling sigils but by crafting stories, paintings, symphonies. We could allow our art to spread its holy psychedelic scarab wings across society once more, perhaps in doing so allow some light or grace to fall upon that pained, benighted organism. We could be made afresh in our fresh undergrowth, stand reinvented at a true dawn of our Craft within a morning world, our paint still wet, just-hatched and gummy-eyed in Eden. Newborn in Creation.”
via ekstasis
An Englishman in New York
“Persistence is your greatest weapon. It is in the nature of barriers that they fall. Do not seek to become like your opponents. You’ll have the burden and the great joy of being outsiders. Every day you live is a kind of triumph. This you should cling on to. You should make no effort to try and join society. Stay right where you are. Give your name and serial number and wait for society to form itself around you because it most certainly will. Neither look forward where there is doubt nor backward where there is regret. Look inward and ask not if there is anything outside that you want but whether there is anything inside you have not yet unpacked.”
the gift
you give
do you know?
and if
I say
will it break?
“Deutscher Girls” by Adam & The Ants
“Deutscher Girls” was inspired by the controversial art film Portiere Di Notte (The Night Porter) by director Liliana Cavani, and starring Dirk Bogarde (after whom Adam and the Ants’ 1979 debut album Dirk Wears White Sox is named) and Charlotte Rampling. The 1974 Italian film featured elements of Nazisploitation; Bogarde plays a former Nazi, and Rampling a former concentration camp inmate. In the song, the roles are reversed.
Lyrics were changed from the original Jubilee version when it was released as a single three years later. The line “So, why did you have to be so Nazi” was changed to “So, why did you have to be so nasty”, and “Camp 49 way down on the Rhine” was changed to “A lover of mine from down on the Rhine”. Adam Ant told Sounds:
“ It’s not about concentration camps. It’s about a guy who falls in love with a girl – a member of the Nazi Youth Organisation. “
Paul Greer 