lifetime fan rapport

I could write a dozen different pieces about The Album That Changed My Life and each would be different, each would be a perfect cross-section of who I was, where I was, and how everything changed. Coil. Front Line Assembly. NWA. Tori Amos. The KLF. Haujobb.

This is about Fixed, by Nine Inch Nails.

I was young. Fourteen? I had a copy of Pretty Hate Machine, the Head Like A Hole single, Broken, and Sin. I loved Broken. It had all of the tearing guitar aggression of The Offspring’s Smash but with a kind of obsessive nihlist production that I had never heard anywhere else.

I remember borrowing Broken from a friend. Picking it up at her house. I remember her roommate’s performative dismissal when she learned what I was borrowing. “Nine Inch Nails? They’re shit now. Past their prime.” It was 1994.

When I heard about Fixed, I thought it would be like the Sin single. Or Head Like A Hole. A few clubby remixes, a few quiet remixes, maybe an extra track.

It wasn’t like that. It wasn’t like anything I had ever heard.

The remixers on Fixed include:

  • Butch Vig (Garbage)
  • J. G. Thirlwell (Foetus, frequent collaborator of Lydia Lunch and Marc Almond, currently the composer for The Venture Bros)
  • Bob Flanagan (Subject of the documentary “SICK: The Life & Death of Bob Flanagan, Supermasochist”)
  • Peter Christopherson (Co-founder of Industrial Records, Psychic TV, and Coil)

I had heard albums before that changed the way I thought about music. Albums with sounds on it that I didn’t know it was possible to make. Songs about the personal, the occult, and the psychotic. What I hadn’t heard before was an album where I wasn’t sure that it was music at all. Vocals chopped up and syllables rearranged into a violent glossalia. Songs suddenly crashing in on themselves, reduced to a half-second of guitars and drums looping absurdly on a stuck needle you can’t reach. Walls of noise cutting out to cheery commercials and back in again before you’re sure what it is that’s happening.

I didn’t listen to anything else for at least four months. Likely longer. I played that tape until all of its sharpness was lost and my walkman had been closed so long the rubber seal had started to fuse.

From that album I discovered Coil. Foetus. Industrial Records. Can. Cabaret Voltaire. Swans. William Burroughs. JG Ballard. Godflesh. NEU!. Neubauten. Test Dept. Gary Numan. Ministry. Stockhausen. Killing Joke. Brian Eno.

Everything.

Years later, Trent Reznor took some time between winning a Grammy and winning an Oscar to personally say “fuck you” on my Facebook after I said I missed the old Nine Inch Nails sound.

There’s no substitute for that kind of lifetime fan rapport, friends.

Things I Have Been Enjoying Lately, Third in a Series

Front Line Assembly – AirMech

FLA - Airmech

Front Line Assembly changed my life.

They were the first industrial band I ever heard, way back when a friend gave me a tape of Tactical Neural Implant in 92. I remember putting it in my walkman, hitting play, and listening to Final Impact completely stunned. I had been listening to Guns N’ Roses, Led Zeppelin, and N.W.A — nothing that prepared me at all for what I was hearing. I didn’t know music like that existed. I didn’t even know it was possible to make those kinds of sounds. The same friend clued me in to Delerium, Noise Unit, Intermix, and the rest of the FLA side projects. (Synaesthesia has always been my favourite of those, and their Ephemeral record is one of my desert island disks.)

Tactical Neural Implant was twenty years ago, and FLA’s still releasing albums. They’ve got new blood in the band, and whatever combination of people and equipment it took to make AirMech should probably be flash-frozen and preserved for future generations.

Fair warning: AirMech is completely instrumental. It’s also a video game soundtrack, and not a club record. And, like a lot of FLA records before it, the production is heavily influenced by whatever was blowing up in electronic music when they made it (which in this case is dubstep, so get your haterade ready).

The thing that makes this album amazing isn’t the wubs or the lack of vocals. This album is great because the diversity in the production spans very nearly the entire FLA discography. There are sequences that sound like they could have been taken off of Tactical Neural Implant, next to parts that could have come from lost Delerium or Synaesthesia tapes. There are elements of it that are unmistakably modern, and without any vocals in the mix the electronics shine in a way they aren’t often allowed to.

I don’t know if I’d say that this is FLA’s best record since the classics — I think Artificial Soldier is as good as anything else that got released after Millennium, and it’s hard to compare a heavy club record to a soundtrack — but I’ve been listening to it more than I’ve listened to any other FLA record since the 90s, and I’m not putting it down anytime soon.

If you were ever a fan of FLA’s less aggro material, you should listen to Airmech.

[soundcloud url=”https://soundcloud.com/jeremy-inkel/12-prime-empiricism” params=”” width=” 100%” iframe=”true” /]

We can do better.

It has been a very long and unlikely week.

Last Thursday Nick and I got on stage at Kinetik and played the best set either of us have ever played — a 50 minute performance, but it’s the last five that everyone’s talking about.

We had a message we wanted to deliver, and we did it. And a week later, the conversation about it is still going strong. It’s funny, before Nick and I went on stage we were talking about what could happen. We thought maybe a few people might get behind it. We also thought maybe we might get booed off stage. Worse yet, we thought maybe no one would notice or care.

Seven days, hundreds of shares, and 10k+ views later, people are still talking about misogyny and racism in industrial music. We’ve had hundreds of people get in touch to tell us how much they appreciate what we did. I’ve lost count of the number of women who’ve told us that this kind of imagery is exactly why they left the scene. And if I told you how many people (men and women alike) cried when they spoke to us about it, you wouldn’t actually believe me.

So, it’s a week later. The message is as clear as I could make it. Andy and Thomas have both said their piece on it. There have been articles, interviews, and editorials. And people are still talking about what it all means. About sexism, about racism. About art, communication, and community.

What does it say about our scene, that this resonates so strongly with so many people? What does it say about the conversations we haven’t been having? And what will happen if more people continue to say: We demand better.

I hope we’ll get to find out.

Tragedy (For Us): California Dreamin

Das Bunker, Los Angeles. Some kind of crazy rivethead mecca, the likes of which I thought were all but extinct.

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We rolled into LA in the early afternoon, and spent a few hours decompressing at Rev John’s, where we were joined both by his lovable italian greyhounds, and by the darling Audra Williams, who flew out to join us on the road for a week.

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John’s hospitality was above and beyond. We all walked away happy, fed, and with a lot of Das Bunker merch. Plus, the show was killer. The place was packed, people were cheering, and it took a full five minutes to make it from the stage to the merch booth after my set was over. Yann, of course, fucked shit up old-school.

A quick jaunt to San Francisco later, we were at the Retox Lounge.

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We were worried about this show, as SF crowds are fickle and cruel creatures; but it was a smash success. Nearly everyone there told us “I don’t normally come out to this venue, but…”, and the dancefloor was moving all night.

We spent a few days off in SF (graciously hosted by Coolio and Sharon) where Scott and Yann got to relax, and Audra and I got to explore the city.

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SF is one of those places that reminds me just how small Ottawa really is. Places like 826 Valencia could never survive at home, and institutions like City Lights would never have been able to do what they did. There aren’t enough people, there isn’t any support from the city itself, and it’s nearly impossible to build sustained support for any kind of artistic enterprise.

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But I digress.

We left California for Portland, which – if i may sound like an asshole – I had no idea was so cool. Austin is the only other city in the states where I’ve seen so many amazing, indie businesses and arts/crafts.

We played at The Fez Ballroom, which is a beautiful concert hall. After a dozen converted gallery spaces and cramped clubs, it was a breath of fresh air. Scott’s opening set had people cheering from the middle of the first song on, and while it was a great show for all three of us, he kicked the shit out of Yann and I both in crowd reaction and merch sales, which is pretty awesome.

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(We also got to check out Derek’s store before we left. Verdict: Fantastic, not enough Ad·ver·sary.)

Seattle was next, where we were hosted by the lovely Jeri, who was gracious and generous, and made sure everything we needed was taken care of.

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The show itself was quiet, but a good time. We had the next day off, and Audra and I took a ferry over to Vachon where we spent a night at her friend Heather’s idyllic country home. Hot tubs make for great stress relievers after two weeks in a car, incidentally.

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One surprisingly painless border crossing later, and we were in Vancouver for the Zombie A-Go-Go. There was a line outside the door when doors opened, and by the time I was on stage the club was packed full of (remarkably well-costumed) zombies. Zombie cops, zombie flapper girls, zombie gangsters, zombie groupies, zombie fairies (what?), zombie movie stars. Zombies zombies zombies.

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Everyone was a bit worried that the crowd wasn’t going to dig the music, since so many of the people were at the club as part of the zombie walk, but it was easily one of the most enthusiastic dancefloors of the entire tour to date.

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We grabbed a quick bite to eat after the doors closed, and then it was right back in the car to make it to Edmonton for the next show. The crowd there was small, but seemed to be comprised entirely of electronic musicians who were all listening, if you know what I mean.

Audra left back to Ottawa the next morning, and after a long and emotionally numbing day at the West Edmonton Mall, we got in the car at 5am to head off to Winnipeg for yesterday’s show.

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Stay tuned!

Tragedy (For Us): Going Down

DC.

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Baltimore was fantastic. Soundcheck was a total clusterfuck, but after we got everything working, it kept working well. They had a four-projector video wall and some very talented VJs who worked very hard to make us look like we were a nightclub from the future.

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Worms of The Earth opened, which was great. Last time I saw him play was a year or two ago in Quebec City, and while I don’t remember a shirtless finale then, it worked well for Baltimore. The club was packed by the time we went on stage, and it was a killer show. The best of the tour so far, for sure.

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Next: New Orleans.

I had thought I was prepared for what the city was going to look like. Not at all. I don’t know what it looked like right after Katrina, but it’s still a disaster zone today. Families living on traffic medians, block after block looking like it has been bombed out. We were only there for an evening, but the city broke my heart.

The show itself took place in a house turned fucked-up voodoo house turned art gallery turned concert venue. The owner drove a white hearse covered in skulls and marked front-to-back with sigils. There were altars in every corner of every room, bones and offerings to appease or antagonize the loas, and a couple nine year old kids running around playing hide and seek.

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The sound system they had was completely unprepared for the kind of horrible noises we wanted to make, but they picked up a new system and brought it in for us within an hour or two, and then we were ready to roll.

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After leaving NOLA, we spent two nights driving through Texas, with pit stops in Austin and El Paso. We made a pilgrimage to The Jackalope, ate some amazing Mexican food, but with over ten hours of driving a day, there wasn’t much room for sight seeing.

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We arrived in Arizona yesterday. I have never, ever felt heat like the heat here. It was 46c when we arrived in Phoenix that afternoon, and it was 43c when we got back to the hotel that night after the show.

Yann and Scott were both loopy and twitchy from the heat, but I’d love to spend an entire summer down here.

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The club we played at had an incredible system, but we were competing with Rasputina down the street (and, elsewhere, Weird Al!) and the attendance was the lowest on the tour so far. The people that were there were enthusiastic, though. I’d rather have a dozen people watching and cheering than two dozen talking over the music. I’m looking at you, Boston.

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Yesterday was Los Angeles. Stay Tuned!

Tour Diary of The Future

I’m writing this as we drive out of NYC, onwards to Baltimore and beyond. We’re four shows in so far, and we’re about to hit a heavy stretch of driving in the next few days.

We started out in Montreal, where we had a killer show at Saphir. People were screaming, sound was fantastic, and a lot of friends (including the lovely Audra!) were there to support us.

The Setup

The next day we headed to Quebec City, where our hosts treated us like kings with an amazing burger barbeque, and let us clutter up their lovely home with all of our crap. The show was solid; not as many people were there as the promoter had hoped, but the room was still packed full of enthusiastic people, and we sold a lot of merch.

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We went back to Montreal for a few days to regroup and prepare for the rest of the tour. (The great thing about having two shows so close to home with a few days off after is that you get to see all the holes in your planning, and you get a chance to fix them.

There was a lot of ass-busting work, but there was also a chance to spend some time with new, amazing people. It was a great way to spend our last few days in Canada.

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So, after a lot of tetris magic packing all our stuff, and an uneventful-yet-incredibly-time-consuming stop at the border to process our artist visas, we were in the US, never to return.

With that said, probably we’ll return to Canada in a few weeks.

We played Boston on Wednesday and New York on Thursday.

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The Boston crew did a really great job turning a wood-panelled bar into an awesome looking electronic venue, but the crowd didn’t really turn out for it. And most of the crowd that did spent their time talking loudly over the bands. We lost money on the show for sure. We did, however, get to see some old friends, pick up a lot of new merch, and high-five each other a lot for actually making it into the US legally.

New York is always a fun place to be. The promoter put us up in a hotel in SoHo, bought us delicious pizza, and even had stagehands for moving all of our shit up and down two flights of stairs.

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The show itself was great, if a bit weird. All of my/Yann’s industrial scene New York friends who said they were going to be there never materialized (except you, Lenny – you’re a hero), but all the invited non-industrial scene people showed.

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The opening act had a really tough time. They played a lot of unstructured noisescape stuff, mixed with some really heavy broken beat tracks, and the crowd was not into it at all (which especially sucks since the promoter pushed back the start times by an hour so people would get a chance to see them). They had some great sounds but it was clearly not what anyone was expecting.

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I played both heavier and dancier than I have so far on the tour, and the crowd responded really fucking well to it. It was a fun set to play, trying to find a balance between something that the tough-crowd industrial crew would enjoy, and something that wasn’t going to alienate people who weren’t wearing all black.

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My sister was in attendance (bless her hip-hop heart),  and she told me that someone who was dancing to my set leaned over and said “this guy is just so FIERCE!” – made my fucking night.

Sadly, due to the show start time getting pushed back, by the time Yann was on stage to work his Iszoloscope magic, at least half the people who had were there for the end of my set had left. People were still dancing and really into it, but there weren’t nearly as many bodies.

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After the show, Yann, Scott and I went out for a bite of food with my sister, who took us to an awesome little diner where the other patrons provided much entertainment.

We took it easy today, and spent the day wandering around Manhattan. Some time in Central Park, some time to explore the aircraft-carrier-turned-museum U.S.S. Intrepid, and some time to eat at a crazy awesome Italian place (with no sign out front) that a sassy black beat cop recommended to us.

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…and now, Baltimore bound!

Tragedy (For Me) – First in a Series

Tour Diary, day negative three. We play our first show in Montreal on Friday. Paperwork is in hand, merch is being shipped to Boston for us to collect on our 3rd show (sorry, Montreal and Quebec City), and aside from feeling like hell from fighting off a flu, everything’s great.

I’ve got a kickass new live rig:

…and some amazing designs for all my merch (courtesy of graphic designer extraordinaire Robert Nixon):

Lace up your combats and order your earplugs, we’re just about ready to roll.

10 * 365.25

Ten years ago today, I waited outside HMV for it to open in the morning so I could pick up a copy of The Fragile at the very moment it was released.

Ten years later, I’m cursing ebay regularly trying to find a non-bootleg vinyl copy for less than $100.

This lot is what dreams are made of.

We’ll all float on, ok?

From a new Genesis P-Orridge interview:

Just recently some young students moved in to the apartment downstairs from us, so we went down and said “Hi welcome, we’re your neighbors,” and they gave us a cocktail because we’re all sitting there trying to make friends, and one of them said, of course, “What do you do?” So we said rather shyly, “well we kinda make music, do some art and stuff.” And one of the guys goes, “Oh what kinda music man?” And we said, “well the first band that we were in played music and we called it Industrial Music.” And he looks at me and he goes, “Yeah!” and he pulls up his T-shirt and he’s got a big Nine Inch Nails tattoo on his arm, and we went, “well, not really like that.” (laughs) And he went, “what do you mean?” “Well it was quite a few years before they were Nine Inch Nails.” and he went, “What? What do you mean? I thought Nine Inch Nails was Industrial” and so we thought, it’s not worth trying to explain this, and then the girl said, “Oh like Modest Mouse!”

one more time for the masses

Thanks to everyone who came out last night — musically, that was one of the best shows I’ve ever attended, let alone had the opportunity to play at, or promote. Everyone who played put on an incredible performance.

Acumen played the best cover of Bela Lugosi’s Dead that I’ve ever heard — DJ? Acucrack did live remixes of Ministry, Skinny Puppy, Nitzer Ebb and The Prodigy — and Ahnüsse made a surprise appearance to perform Aut Haus, which has been a hit at the club for a few months. Matt brought some Grandmaster Flash to the show, and DJ Hip-Hop rocked the fuck out with some of the dirtiest darkest drum-n-bass I’ve heard in a very, very long time. So to the people there, thank you all very much. Acumen have been trying to come to Ottawa for years, and you did not disappoint them.

With that said, the crowd was much, much smaller in number than we were hoping (or fearing) it would be, and financially the show was a complete disaster of size to rival the FLA cancellation.

After this, we’re almost certainly going to be taking a step back in how we’re doing shows. I don’t want to do them as often as we’re doing them, and I don’t want to do bands as big as we’ve been doing. (I don’t see us continuing to pursue the Skinny Puppy date for their next tour.) I think instead, we’re going to take some time to focus on Tuesdays, get some of the music we’re playing into local record stores, try and build the crowd earlier in the evening (which is something we’re having trouble planning given how many house acts Zaphods has been booking lately).

It was an incredible show, but I’m physically, mentally and financially drained from last night (as is Leslie), and I do not have the emotional or fiscal stamina to invest so heavily when we’ve been asked for years to bring bands to town, and they end up playing to a crowd of 30 people.

Tour Diary, Day -4

Today, much like yesterday, was full of chaos. I’m managing this tour now, it seems, so I’m trying to get all the shit in order. Madness.

We tried to break the stress by taking a trip to IHOP to partake of their delicious iced tea, which is unlimited and flows like a river.

You iHip and you iHop

Sadly, their iced tea brewing dealie was broken, and we were denied its rejuvinating powers. So we went home. And then we slept.

Today was spent on the phone with every car rental place within 100 miles, looking to find a place that both has a full-size van for rent, and also lacks a 25-and-above age restriction. This is an impossible quest, of course, so we’re going to be forced to rent a minivan, which means we’re going to have to cut two people off the tour.

One of these two people is pretty angry, but fuck him. It’s just not possible, and he’s being a jerk.

After a morning on the phone, the afternoon was spent finalizing the two tour CD-R compilations that we’re bringing with us. Most of this was wasted time, as we later discovered that my laptop sound card was distorting the fuck out of everything.

So.

We spent another hour undoing the previous four hours work, and then we were off to Invisible Records to drop it off.

Guns 'n' Rosaries
You eat out of that?STUFF
Change!Psychadelic Nun

We were there for an hour or so (the fridge full of free Red Bull may have contributed to this), and he was kind enough to spend the majority of that time giving me advice on tour management. The man is a fucking wizard.

He asked if Leslie and I could write a story or two for a book that he’s putting together on the music industry. A promoter’s perspective on how-not-to-get-fucked. (Clearly, he’s a poor judge of character.)

Then, a mostly-uneventful walk home (which was filled with tasty italian lemonade), a brief stop at the grocery store, and here we are.

POWER!Lights + Camera = Action

Tomorrow I advance all the venues, and we drive up to South Bend to spend the rest of the week practicing and getting to know the gear. Martin wants me to give him a ring to fill him in on what’s happening with the venues, as he’s just as concerned as I am about the fact that the booking agent is a completely useless douche of colossal proportions. I am afraid of what we will learn.

…but now the time for Demolition Man draws near.

Update: We went with Robocop.

This town needs an enema.

For those of you who will be seeing Cyanotic and Ion tour, here’s a sneak preview of one of the 3 (three!) new compilations we’ve put together for this little outing:

Rabbit Junk – Industrial is Dead (Demo)

like some girl in a snuff video
with a chord around her neck
and her veins full of blow
she’s dancing like she doesn’t know
that she’s hanging in the morgue with industrial
so gothed out like “black number 1”
She’d rather slit her wrists than have some fun
Shaking her corpse to the same old shit
Playing it safe is boring, isn’t it!?

Oi! Mr. DJ, what records are ya playin’ today
Oi! Mr. DJ, are you gonna play the same damn thing that you did yesterday

This ghetto
abysmal
like gangstas
in limbo
creation
invasion
a fortress
a mission
arrested
infested
this corpse has been re-animated
pale embrace in a sick romance
it’s dead and gone but still they all dance

Every day is Halloween
but it’s Halloween stuck in ’93
And it makes me think of the good old days
of skinny puppy and ministry
combat boots and pvc
Dressing up like a scary drag queen
It’s dead and gone, so let’s move on
Industrial R.I.P.

If yer lookin for a zombie fuck
then get your kicks at the “club noc noc” (Seattle, WA.)
dancing all ro-bot-ic
120 bpm goin tic toc tic toc

un-dead posers drinking at the bar
and broken pretty things that can’t get very far
and the 3 legged dogs that are on the the prance
I say step aside bitches I’m here to dance

Let’s fucking dance

Distractions

Things that are happening:

Next week is the Displacer/Re_Agent/s:cage show slash Industrial Nation release party. Tomorrow, I need to get more flyers and posters printed, and spend a few hours postering around the usual hangouts.

October 18th is going to be KMFDM + DJ? Acucrack (+ local opening act maybe, if rider/time allows). This is going to be a fairly big show, and I want to get the promo started right away. I might do up some stark teaser posters to put up on my run tomorrow, just to let people know that they’re coming to town.

Oct 26 looks like a tentative date for our Halloween show, which is almost certainly going to double as an independent music fundraiser. Ideally, we can get some exposure to underexposed acts/organizations, and provide a little financial help:

Warren’s music keeps getting better and better, and I’d like to raise enough to pay for professional mastering for his CD (from the producer of his choice).

Downhill Battle can always use a few more dollars to keep things running, and they’re going to be sending t-shirts and stickers and such for giveaways and sales.

Rumour has it that Nick has sold all his gear, and is without a PC. If this is the case, I’d like to put together a barebones system for him so that he has a way to keep making music.

And so on, and so forth.

We’re still working to confirm Skinny Puppy for November. There have been some changes to the Barrymore’s liquor license, and we’re looking into alternative venues in case these changes affect Puppy’s willingness/ability to play there. I don’t want to use the Capital Music Hall, because they tried to fuck us out of the show when I went to them four or five months ago. Also, I hear their sound sucks like ass. Ottawa needs more venues.

I taught my first 5-day computer security course a week or two back, and it went pretty well, from what I can tell. The students seemed to enjoy the course and the material, and the school seemed to enjoy the reviews of my work. (Additionally, I think I’m unofficially the new IT guy for the school. I’ll find out this week.)

I made a decision to take a theory-based approach to the course (rather than a technical-based approach), because theory spans generations of technology. I could easily do a security course that’s just five days of hard tech geekery, but it’d mostly be useless in a year or three. With any luck, the material I presented will still be useful five or ten years from now.

I’ve been trying to dedicate as much time as possible to writing music over the past few months, and I’ve managed to get a fair bit accomplished — but every time I think I’m happy with the material I’m working on, I’ll leave it alone for a week or two and listen to it again, only to be disgusted by what I had thought was a good track. I’ve been trying to avoid showing this material to anyone but Leslie, who seems to think that the music is much better than I think it is. She cautions me against developing Zykotik K9 Syndrome (wherein I write a lot of very good music, but release nothing because I think it all sucks). She makes sense, but I don’t want to be the next Hypnoskull. (Ready to scream, ready to die!)

I was, for a time, considering playing some of it live if we end up doing an indie music fundraiser show — but after sneaking a track or two into the rotation last night, I’m thinking better of it. It sounds so very different in a nightclub than it sounds on headphones. I actually felt embarrassed when I heard it on the big sound system. So much so that without thinking I started looking for another CD to mix into before anyone got upset at me for playing such terrible music. I ended up letting the track play, but… There’s no way I want to have that feeling when I’m on stage with a hundred people staring at me.

I’m going to be trying to acquire some gear in the near future. I want to move from a composing-based setup to a recording-based setup, and I know how to accomplish it. ACID (and Tracktion, and the like) were a good starting point to learn about composition from a non-tracker point of view, but I can’t do what I want to do with it. It also makes the idea of a live show pretty laughable — I don’t want to be another artist doing Industrial Karaoke, where I hit play and pretend that the knobs I’m twisting are somehow managing the song structure and soundstage. I need to work in a structure where I can improv, where I can record different takes of a song, where I can perform instead of play.

We shall see how well this works.

This entry is just an excuse to avoid writing about what I’m actually thinking and feeling.

NO DIET SODA, PLEASE!

ode to skinny puppy
a poem by jairus khan

oh skinny puppy
how great you are with your fake organs and meat grinders
how happy you seem covered in blood
will you come to my town?
would you come to my town?

i spoke with a man who says he knows you
he said ‘i can help you see them!’
and so i talk to him. he is a Tour Manager.

but sometimes i wonder what it is he’s saying
i will give him venue details and make him an offer
and then he will ask me to make him an offer.

maybe he’s drunk

i look at your rider, and i glimpse a part of you
a part that mandates 48 mono channels and 12 channels of 1/3 octave eq inserted on each mix output
and 12 more of compression
we can give you these things, sweet friends
and your (1) 6 pack dr. pepper in cans
i, like you, like to eat (1) bag tortilla chips with (1) jar salsa
but why do you need (2) packs of zig-zag red rolling papers?

oh puppy, my puppy
do you not like canada?
do you not remember how tasty leslie’s bbq chicken is?
maybe you are not out of her jam yet
and so you do not need us (yet)

but the jam will be here
even if you are not.

BRITS!

From an interview with Sleazy, in regards to his recent move to Thailand from the UK:

More or less everything (food, rent, utilities, transport, but not Apple Macs’) is about a quarter the price of the West especially the UK, so a modest Coil income goes four times further.

There are some things in Thailand that present problems though. The main one for me is that in the UK it’s easy to be motivated to do a lot of work (or a lot of very expensive ‘play’) since there’s basically nothing else to do! In Thailand there are a million beautiful ways to pass the days, so motivating myself to get things done there is much harder.

The England that I grew up in, which was an inspiration to me for so long, has changed a great deal and I am no longer able to see any good side to it. […]

It seems to me that now virtually all artistic endeavour in the UK is actually regarded simply as a means to an end; a means of obtaining fame, a lifestyle, a flat-screen TV, an Audi or the right flowers in the right pot. I’m including people starting up as musicians, artists and fashion designers, the people who will shape the cultural identity of the country in years to come. Nobody seems to be doing these things just because they are driven to, any more. So their work is compromised.

[On Downloading Music]

The debate of the relative merits of ownership of special things vs. the possession of special information will never die. I prefer the latter but Jhonn the former. To be sure, the experience of holding an object, especially a hand-made object will not be equalled electronically for many years. I’d like to think Coil are weeks rather than months away from offering our work as downloads.