phisca added 2 photos to Wikigraphs
Aug 9, 2010 10:58:00 AM
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lundi 16 août 2010
samedi 31 juillet 2010
Joyce Meets Burroughs by Way of Mary Beach
On line at :
http://www.artsjournal.com/herman/2010/07/joyce_meets_burroughs_by_way_o.html
The Beach-Plymell Collection
Mary Beach & Claude Pélieu Art
http://www.beachpelieuart.com/
http://www.artsjournal.com/herman/2010/07/joyce_meets_burroughs_by_way_o.html
The Beach-Plymell Collection
Mary Beach & Claude Pélieu Art
http://www.beachpelieuart.com/
jeudi 22 juillet 2010
previously on optical sound derniers jours
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DERNIERS JOURS / LAST DAYS !
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COLLECTIVE SHOW : "Previously on Optical Sound..."
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GALERIE FREDERIC GIROUX (Paris)
END ON THE JULY 24 th / FIN DE L'EXPOSITION CE 24 SAMEDI JUILLET
La vitrine par EDDIE LADOIRE
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Après son exposition collective « Sound by artists » en 2009, la galerie Frédéric Giroux entame en 2010
une série d’expositions personnelles d’artistes sonores :
Pascal Broccolichi du 20 mars au 15 mai,
Pierre Beloüin du 22 mai au 19 juin
Optical Sound du 6 au 24 juillet
Jérôme Poret du 4 septembre au 30 octobre
et Pierre-Laurent Cassière du 6 novembre au 23 décembre.
Previously on Optical Sound…
Du 6 au 24 Juillet
Galerie Frédéric Giroux 8 rue Charlot 75003 Paris
http://www.fredericgiroux.com/
Optical sound est une structure hybride et atypique, furtive et mobile qui dessine ses propres frontières entre musique expérimentale et art contemporain. Bien avant l'exode des musiciens vers les contrées plus accueillantes des arts plastiques - crise du disque oblige et soif insatiable de nouveauté - Optical sound œuvre depuis 1997 au mixage interdisciplinaire et produit sans distinction projets de musiciens-artistes- graphistes… : disques, dvd's, badges, sérigraphies, éditions limitées, interfaces, expositions, revues… Pas de dogme, ni de chapelle mais la cartographie d'un territoire animé par un réseau serré d'intervenant qui travaillent en cooptation, par le truchement des productions, des rencontres et du partage des données et des passions. Ici règne la Direction artistique au sens noble du terme, Pierre Beloüin en est le gardien - du studio d'enregistrement ou de la salle de concert, en passant par le Black Cube… - selon. Graphistes, plasticiens, écrivains, journalist es, musiciens font partie d'une dynamique de production, d'une marque de fabrique qui traverse les aléas de la production culturelle underground dans un pays peu réceptif aux décloisonnements et au transferts de genres. Cette exposition fera la part belle à ce qui peut-être vu - galerie oblige - mais lézardera le long des murs et dans les écouteurs cette musique qui depuis la naissance du label hurle en faveur d'un projet mixed media toujours bien vivant.
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*"A4" : sous la forme d'œuvres inédites en vente, spécialement conçues pour l'occasion par plus de cent artistes :
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J.G. Thirlwell, Alain Declercq, Barbara Breitenfellner, Rebecca Bournigault, Pascal Broccolichi, Pierre-Laurent Cassière, Jérôme Poret, Sophie Sommerlatt, Marjolaine Bourdua, Cathryn Boch, Emeline Girault , Cendrillon Bélanger, Philippe Perreaudin, Claire Moreux, Lydie Jean Dit Pannel, Serge Comte, Pascal Béjean, Loïg R, Goran Vejvoda, Ian Simms, Emmanuel Lagarrigue, Nicolas Simonin,Jill Gasparina, Frederic Nogray, Frédéric Post, Alain Declercq, Stéphane Sautour, Claude Lévêque, Rainier Lericolais, Christian Vialard, P.Nicolas Ledoux, Guillaume Ollendorf, Simon Fisher Turner, Isabella Turner, Sébastien Roux, Eddie Ladoire, Lionel Marchetti, Black Sifichi, Norscq, Cocoon aka Christophe Demarthe, Stéphane Thidet, David Michael Clarke, Anabelle Hulaut, Philippe Lepeut, Christophe Bailleau, Olivia Louvel, Thierry Weyd, Samuel Ruchot, Julien Sirjacq, Cécile Babiole, Gilles Berquet, Mirka Lugosi, Mathias Delplanque, Alia Daval, Dorota Kleszcz , François Ronsiaux,Wild Shores, Hervé TTrioreau, Laurent Faulon, Davide Bertocchi, Alexandre Bianchini, Dominique Blais, Vincent Epplay, Gérôme Nox, Scanner…
En vente à la galerie jusqu'au 24 Juillet, de 50 euros à 1500 euros
À l’occasion de cette exposition les éditions Optical Sound seront disponibles intégralement sous la forme d’un lot unique contenant la collection complète des 13 ans de productions.
Par ailleurs un nouveau numéro "manifeste !", hors série de la revue Opticalsound consacré aux Manifestes sera proposé en exclusivité et en parallèle à sa présentation à l'Espace de l’Art Concret,(Mouans –Sartoux) à l'occasion de l'exposition "le temps des manifestes". du 22 mai au 19 juin
commissariat de l'exposition :
Pierre Beloüin avec P.Nicolas Ledoüx et Olivier Hüz.
Artistes invités :
*La Vitrine par : Eddie Ladoire « ENJOY THE SILENCE » :
Feuille d’acier de 5mm d’épaisseur + découpe laser (140x90) Tirage unique
« Enjoy the silence» est le titre d’un album du groupe de pop électronique anglais : Depeche Mode.
Fixer cette phrase hors de son propos, sur un support non musical et dans un contexte de bruit, devient un geste quasi fictionnel, et sculptural
*Black Sifichi (13 years continuous mix, vidéo)(www.blacksifichi.com)
*Ototoï (Borne interactive développé par Servovalve et Marie Destandau pour le site www.ototoimusic.com)
__________
OTHERS RELEASES / AUTRES EDITIONS Section Releases
Thanks for reading - Pierre Beloüin ~ Optical Sound
105 rue des Volubilis 83190 Ollioules
18 Rue de Stosswihr 67100 Strasbourg
25 rue des Cascades 75020 Paris
Season of Mist is the official French distro of Optical Sound in France / Distribution France Season of Mist
Vente format numérique / Digital Selling on OTOTOÏ
We're also on iTunes via Diogenes.
The Optical Sound CD's are always available in regular store, on-line it's better for us / les éditions Optical Sound sont disponibles
chez tous les disquaires, et de préférence sur la boutique en ligne Buy on-line with Paypal, quick and secure sending, règlement par C.B sécurisé.
Bob Branaman's illustration of Chances R
Bob Branaman's illustration of Chances R, famous gay bar in 50's published with Ginsberg poem when he visted Charles Plymell in Wichita in 60's.
Charles Plymell : videos by Mike Zombek
Charles Plymell Sings:
http://www.youtube.com/watch?v=Juma6hYzwZo
Charles Plymell Gets his Gas in Beer :
http://www.youtube.com/watch?v=QBFXto0-09M&feature=channel
http://www.youtube.com/watch?v=Juma6hYzwZo
Charles Plymell Gets his Gas in Beer :
http://www.youtube.com/watch?v=QBFXto0-09M&feature=channel
Pen Pals: Jack Kerouac, Allen Ginsberg and the Literary World They Made
http://www.nytimes.com/2010/07/20/books/20book.html?_r=1
By JANET MASLIN
Published: July 19, 2010
In one of Allen Ginsberg’s more crazily virtuosic letters to his sometime soul mate, Jack Kerouac, Ginsberg included an apology of sorts. “I was too intent on self-fulfillment, and rather crude about it, with all my harlequinade and conscious manipulation of your pity,” he wrote. He also looked back on his life as an artist and described it witheringly: “Art has been for me, when I did not deceive myself, a meager compensation for what I desire.” And he acknowledged being worn, enervated and world-weary. “I am sick of this damned life!” he complained.
The year was 1945. Ginsberg was a precociously ancient 19-year-old. He would grow friskier, more pragmatic and less self-dramatizing during the course of his long correspondence with Kerouac, but one thing never changed: Ginsberg’s insistence on keeping the friendship alive. It lasted until Kerouac disappeared into an alcoholic haze and died in 1969, despite Ginsberg’s best efforts to save him.
Many of the two men’s letters went to separate university archives, Kerouac’s to Columbia, and Ginsberg’s to the University of Texas. And there they sat for decades, not without good reason. These letters can be as long-winded, rambling, visionary and impenetrable as each man’s writing style would suggest. But they can also be sharp, lucid, funny, tender, intimate, gossipy, jubilant and absolutely honest about the two aspiring authors’ gigantic ambitions.
And if their correspondence sounds one loud cautionary note, it’s a warning to be careful of what you wish for. The free-spirited energy of their early communications can be seen slowly ossifying into the discourse of eminences too busy being famous to be friends. As Kerouac predicted to their mutual friend and mentor, Lawrence Ferlinghetti: “Someday ‘The Letters of Allen Ginsberg to Jack Kerouac’ will make America cry.”
In the seductive collection they’ve called “Jack Kerouac and Allen Ginsberg: The Letters,” the editors Bill Morgan and David Stanford stake out a distinct piece of literary turf. They do this despite the fact that Kerouac and Ginsberg were expansive letter writers, that each wrote to many correspondents, and that reams of these other letters have already shown up elsewhere. A third of the Kerouac-Ginsberg letters in this bumpy but transfixing volume have also been published before.
But this book’s emphasis is on the intensity and passion of two writers’ long conversation. That such a paper trail exists is never taken for granted. Amazingly, they wrote expansive, soul-searching letters even when in close proximity, let alone during the lengthy periods spent (as one of them put it) on the road. And the arc of the friendship is fully preserved here, from the hot-air excesses of college days to the chillier, fame-ravaged exchanges of later years. Each was an important critic of the other’s work. Each read as voraciously as he wrote. What Ginsberg called “the secret knowledge of reciprocal depths” helped bind them.
And neither was above noticing how the magazine Mademoiselle chose to cover the newly famous Beat Generation, once these two and their friends managed — to the everlasting amazement of one and all — to become published, celebrated, imitated and, in some quarters, reviled.
“Hasn’t it been awful?” Kerouac would write to Ginsberg in 1959. “We were so swingy? And now young poets are sneering at us?” Two years earlier it had been Ginsberg sagely advising Kerouac to be wary of becoming a symbol for the so-called Beat Generation: “You have too much else to offer to be tied down to that and have to talk about that every time someone asks your opinion of weather.”
But the Beat aura hangs over this book. Hindsight has made it impossible to avoid the shared myth that enveloped Kerouac, Ginsberg, their very close friends Neal Cassady and William S. Burroughs, and the wider circle that included Gregory Corso, Lucien Carr, Peter Orlovsky, Paul Bowles and Gary Snyder. And Mr. Morgan, one of the letters’ co-editors, is the authoritative Beat bibliographer who has devoted many years to the archives of Ginsberg, Burroughs, Mr. Ferlinghetti and many others.
Partly because Mr. Morgan has already mined this vein for other books — including the Ginsberg biography “I Celebrate Myself,” the Ginsberg-Snyder letters and Beat walking literary tour guides to New York and San Francisco — he has written a concise but broad survey of Beat history. It’s called “The Typewriter Is Holy,” and it’s a helpful, even necessary, companion piece to the letters, which are only minimally annotated. It’s also a book that tries to put the far-reaching Beat tentacles and vast Beat cultural legacy into perspective.
Mr. Morgan has said that he finds two different kinds of people interested in the Beats: either those who know nothing about them or those who know everything. “The Typewriter Is Holy” deliberately caters to both types.
For the unknowledgeable, it can be blisteringly obvious, as in: “Kerouac, a fast typist, decided that he would ignore punctuation, paragraph breaks and traditional form, and type the story in one long sustained burst of energy. For this book, he would put the words down on paper as fast as they came into his head without stopping to revise.” These same readers may be surprised to learn that “On the Road” was typed on an enormous paper scroll.
For readers who are already familiar with biographies of Beat personnel, Mr. Morgan just means to help with logistics. Who was in Tangier when? Or at the City Lights Bookstore in San Francisco? Or the Beat Hotel in Paris? Or visiting Neal Cassady? Or avoiding Cassady, as Kerouac did when his friend wound up in San Quentin on a drug charge?
Though “The Typewriter Is Holy” is most useful in conjunction with other books, it does neatly condense Beat lore. And it makes the same point to which Mr. Morgan has devoted decades’ worth of archival work. Both of these books underscore the very un-Beat concept of Beat power. One book shows where it came from. The other explains why it’s not going away.
A version of this review appeared in print on July 20, 2010, on page C2 of the New York edition.
By JANET MASLIN
Published: July 19, 2010
A late-1950s New York minute: clockwise from far right, Allen Ginsberg, Gregory Corso (in cap), the painter Larry Rivers, Jack Kerouac and the musician David Amram.
In one of Allen Ginsberg’s more crazily virtuosic letters to his sometime soul mate, Jack Kerouac, Ginsberg included an apology of sorts. “I was too intent on self-fulfillment, and rather crude about it, with all my harlequinade and conscious manipulation of your pity,” he wrote. He also looked back on his life as an artist and described it witheringly: “Art has been for me, when I did not deceive myself, a meager compensation for what I desire.” And he acknowledged being worn, enervated and world-weary. “I am sick of this damned life!” he complained.
The year was 1945. Ginsberg was a precociously ancient 19-year-old. He would grow friskier, more pragmatic and less self-dramatizing during the course of his long correspondence with Kerouac, but one thing never changed: Ginsberg’s insistence on keeping the friendship alive. It lasted until Kerouac disappeared into an alcoholic haze and died in 1969, despite Ginsberg’s best efforts to save him.
Many of the two men’s letters went to separate university archives, Kerouac’s to Columbia, and Ginsberg’s to the University of Texas. And there they sat for decades, not without good reason. These letters can be as long-winded, rambling, visionary and impenetrable as each man’s writing style would suggest. But they can also be sharp, lucid, funny, tender, intimate, gossipy, jubilant and absolutely honest about the two aspiring authors’ gigantic ambitions.
And if their correspondence sounds one loud cautionary note, it’s a warning to be careful of what you wish for. The free-spirited energy of their early communications can be seen slowly ossifying into the discourse of eminences too busy being famous to be friends. As Kerouac predicted to their mutual friend and mentor, Lawrence Ferlinghetti: “Someday ‘The Letters of Allen Ginsberg to Jack Kerouac’ will make America cry.”
In the seductive collection they’ve called “Jack Kerouac and Allen Ginsberg: The Letters,” the editors Bill Morgan and David Stanford stake out a distinct piece of literary turf. They do this despite the fact that Kerouac and Ginsberg were expansive letter writers, that each wrote to many correspondents, and that reams of these other letters have already shown up elsewhere. A third of the Kerouac-Ginsberg letters in this bumpy but transfixing volume have also been published before.
But this book’s emphasis is on the intensity and passion of two writers’ long conversation. That such a paper trail exists is never taken for granted. Amazingly, they wrote expansive, soul-searching letters even when in close proximity, let alone during the lengthy periods spent (as one of them put it) on the road. And the arc of the friendship is fully preserved here, from the hot-air excesses of college days to the chillier, fame-ravaged exchanges of later years. Each was an important critic of the other’s work. Each read as voraciously as he wrote. What Ginsberg called “the secret knowledge of reciprocal depths” helped bind them.
And neither was above noticing how the magazine Mademoiselle chose to cover the newly famous Beat Generation, once these two and their friends managed — to the everlasting amazement of one and all — to become published, celebrated, imitated and, in some quarters, reviled.
“Hasn’t it been awful?” Kerouac would write to Ginsberg in 1959. “We were so swingy? And now young poets are sneering at us?” Two years earlier it had been Ginsberg sagely advising Kerouac to be wary of becoming a symbol for the so-called Beat Generation: “You have too much else to offer to be tied down to that and have to talk about that every time someone asks your opinion of weather.”
But the Beat aura hangs over this book. Hindsight has made it impossible to avoid the shared myth that enveloped Kerouac, Ginsberg, their very close friends Neal Cassady and William S. Burroughs, and the wider circle that included Gregory Corso, Lucien Carr, Peter Orlovsky, Paul Bowles and Gary Snyder. And Mr. Morgan, one of the letters’ co-editors, is the authoritative Beat bibliographer who has devoted many years to the archives of Ginsberg, Burroughs, Mr. Ferlinghetti and many others.
Partly because Mr. Morgan has already mined this vein for other books — including the Ginsberg biography “I Celebrate Myself,” the Ginsberg-Snyder letters and Beat walking literary tour guides to New York and San Francisco — he has written a concise but broad survey of Beat history. It’s called “The Typewriter Is Holy,” and it’s a helpful, even necessary, companion piece to the letters, which are only minimally annotated. It’s also a book that tries to put the far-reaching Beat tentacles and vast Beat cultural legacy into perspective.
Mr. Morgan has said that he finds two different kinds of people interested in the Beats: either those who know nothing about them or those who know everything. “The Typewriter Is Holy” deliberately caters to both types.
For the unknowledgeable, it can be blisteringly obvious, as in: “Kerouac, a fast typist, decided that he would ignore punctuation, paragraph breaks and traditional form, and type the story in one long sustained burst of energy. For this book, he would put the words down on paper as fast as they came into his head without stopping to revise.” These same readers may be surprised to learn that “On the Road” was typed on an enormous paper scroll.
For readers who are already familiar with biographies of Beat personnel, Mr. Morgan just means to help with logistics. Who was in Tangier when? Or at the City Lights Bookstore in San Francisco? Or the Beat Hotel in Paris? Or visiting Neal Cassady? Or avoiding Cassady, as Kerouac did when his friend wound up in San Quentin on a drug charge?
Though “The Typewriter Is Holy” is most useful in conjunction with other books, it does neatly condense Beat lore. And it makes the same point to which Mr. Morgan has devoted decades’ worth of archival work. Both of these books underscore the very un-Beat concept of Beat power. One book shows where it came from. The other explains why it’s not going away.
A version of this review appeared in print on July 20, 2010, on page C2 of the New York edition.
samedi 17 juillet 2010
A Bibliography of Works by Richard Krech 1065-2009 by Jason Davis
http://bospress.wordpress.com/2010/07/17/a-bibliography-of-works-by-richard-krech-1065-2009-by-jason-davis/
A complete bibliography that details every known printed appearance including books, magazines, anthologies and ephemera. An exhaustive work. 100 pages. Edition of 74 copies, 1/4 bound cloth over boards. We have very few of these left. $35 plus shipping. Visit www.bospress.net/order.html to order.
A complete bibliography that details every known printed appearance including books, magazines, anthologies and ephemera. An exhaustive work. 100 pages. Edition of 74 copies, 1/4 bound cloth over boards. We have very few of these left. $35 plus shipping. Visit www.bospress.net/order.html to order.
George Laughead: Beats In Kansas: The Beat Generation In The Heartland: updates
William Burroughs (1914 – 1997) Photo Gallery
with Allen Ginsberg, Anne Waldman, Patti Smith
Photo copyright Georges Laughead
Enter Gallery
Photographs byGeorge Laughead
Iggy and the Stooges: videos of concerts july 2010 on YouTube
Iggy & The Stooges - No Fun @ Nuits de Fourvière, Lyon 2010-07-14 :
http://www.youtube.com/watch?v=iSe8tgMc2AU
Similar videos included.
http://www.youtube.com/watch?v=iSe8tgMc2AU
Similar videos included.
New additions to Bowlie + Nightmare + In Between Days plus Modest Mouse / The Pop Group in London and more!
1. New additions to all three Xmas ATP Festival Events
After announcing a bunch of great line-up additions recently to all three of our Christmas festival events we're happy to be able to bring you even more new artists this week. First up chosen by Belle & Sebastian for Bowlie 2 are...
DIRTY PROJECTORS
THE ZOMBIES
JENNY AND JOHNNY
SONS AND DAUGHTERS
TREMBLING BELLS
ABIGAIL GREY
ZOEY VAN GOEY
THE 1900s
Which means that the current line-up looks like this:
BELLE & SEBASTIAN / TEENAGE FANCLUB / ISOBEL CAMPBELL and MARK LANEGAN / JULIAN COPE / THE VASELINES / THE NEW PORNOGRAPHERS / VASHTI BUNYAN / THE APPLES IN STEREO / FRIGHTENED RABBIT / FIELD MUSIC / HOWLIN' RAIN / THOSE DANCING DAYS / THE DUTCHESS AND THE DUKE / SILVER COLUMNS / FOALS / CRYSTAL CASTLES / DEAN WAREHAM PLAYS GALAXIE 500 / MULATU ASTATKE / EDWYN COLLINS / STEVE MASON / DIRTY PROJECTORS / THE ZOMBIES / JENNY AND JOHNNY / SONS AND DAUGHTERS / TREMBLING BELLS / ABIGAIL GREY / ZOEY VAN GOEY / THE 1900s
Tickets for BOWLIE 2 are priced at £165.00pp for room only and £175.00pp for self catering and are on sale now from www.atpfestival.com.
We also have a very exciting addition to the line-up for In Between Days. The latest announcement is:
HALLOGALLO 2010 (MICHAEL ROTHER & FRIENDS PRESENT NEU! MUSIC)
Hallogallo is a group formed by Michael Rother (frontman of the mythical Neu! and Harmonia, and member of one of the first formations of Kraftwerk), Steve Shelley (drummer of Sonic Youth), Aaron Mullan (from the New York band Tall Firs and collaborator of people like Chris Corsano) and Ben Curtis (of Secret Machines & School of Seven Bells). This group are currently playing a small number live shows in which they perform the highly influential music of Neu!
In Between Days is curated by AMOS, and runs from 6th - 9th December 2010 at Butlins Minehead. If you are planning to come to both December ATP weekends, or wish to stay on after weekend 1 (or come early to weekend 2!) or indeed if you're not coming to our Xmas festivals at all we have limited availability for people to stay on site during the week in between. During the event the small Crazy Horse venue will be open and we’ll be putting on entertainment including bands and djs.
The line-up so far looks like this:
CARIBOU / WOODEN SHJIPS / MOON DUO / FOUR TET / WHITE HILLS / CAVE / EMERALDS / HALLOGALLO 2010 (MICHAEL ROTHER & FRIENDS PRESENT NEU! MUSIC)
With more bands, DJs and other activities to be announced. In Between Days will cost £100 per person for the four nights, and is available as 4 berth self-catering. If you only have 2 people in your party who wish to stay, we can place you in a share-an-apartment scheme for the 4 days with another 2 people.
To book for In Between Days email us at feedback@atpfestival.com with IN BETWEEN DAYS in the subject line and we will give you full information; payments can be made using Paypal or Cheque. Tickets are available at a discounted rate of £75 per person for those going to both ATP Festivals. For full info on In Between Days see our website.
We also have the following confirmations in for the Godspeed You! Black Emperor curated Nightmare Before Christmas:
BERG SANS NIPPLE
SICK LLAMA
Which means that the current line-up looks like this:
GODSPEED YOU! BLACK EMPEROR / "WEIRD AL" YANKOVIC / NEUROSIS / BARDO POND / THE EX / DEERHOOF / THE DEAD C / BLACK DICE / FRANCISCO LOPEZ / TIM HECKER / MIKE WATT / SCOUT NIBLETT / WOLVES IN THE THRONE ROOM / MARISSA NADLER / GROWING / RANGDA / NOMEANSNO / JOSEPHINE FOSTER (SOLO) / WHITE MAGIC / EMERALDS / DANIEL HIGGS (LUNGFISH) / BOBAN I MARKO MARKOVIC ORCHESTRA / CHARLEMAGNE PALESTINE / COUNTRY TEASERS / DANIEL MENCHE / MAHER SHALAL HASH BAZ / BORBETOMAGUS / FLOWER / CORSANO DUO / KEIJI HAINO / BRUCE MCCLURE / MAHJONGG / CLUSTER / BERG SANS NIPPLE / SICK LLAMA
With more to be confirmed! The festival weekend will run from the 3rd-5th December at Butlins Holiday Centre, Minehead featuring around 40 bands picked by Godspeed You! Black Emperor, who will also perform. Tickets are priced at £165.00pp for room only and £175.00pp for self catering and are on sale now. Two, Three, Five and Seven Berth Apartments are now completely Sold Out and other ticket options are selling fast. Click Here to Buy
2. Modest Mouse + Yuck to play London Troxy
After playing a number of fantastic sold out shows for us last December, Modest Mouse will return to London this September to play the Troxy. We've just confirmed the great Yuck will support on this show which takes place on the 8th September. Tickets are on sale now, click here to buy!
3. The Pop Group reform! Original line-up to play London shows
The Pop Group return after nearly thirty years to play a small amount of club dates to "blow the dust off the old songs and pick up where we left off.” These initial dates serve as a brief introduction to a new generation of the band's signature caustic Molotov dub funk that manifested itself into only two albums that went on to sporn a whole genre.
Formed in Bristol in 1978, The Pop Group were for many the first and the last après punk band. After two seminal albums ‘Y’ and ‘For How Much Longer Must We Tolerate Mass Murder’ the group split in 1981. "There was a lot left undone,....we were so young and volatile....Let's face it, things are probably even MORE fucked now than they were in the early 80's.....and WE are even more fucked off!"
The 2010 line-up features all original members, Mark Stewart (vocals), Gareth Sager (Guitar, Keys, Sax), Bruce Smith (Drums), Dan Catsis (Bass). ATP are proud to present The Pop Group over two nights at The Garage, London - Saturday 11th and Sunday 12th September. Tickets are on sale now, click here to buy!
4. ATP New York - NYC Altar show, Philadelphia bus on sale!
Fans of Sunn O))) and Boris will be pleased to know that on the 7th September we are presenting a New York City show in which the bands will perform their collaboration Altar live for the first time in NYC, with support from BXI (Boris and Ian Astbury in their first US performance) and Jesse Sykes And The Sweet Hereafter. The groups are also of course performing Altar at the ATP New York 2010 festival this September 3rd-5th at the request of guest curator Jim Jarmusch. Tickets for the show at Brooklyn Masonic Temple are on sale now via our website.
In other U.S. news we have just put on sale a Bus to take people to and from Philadelphia to ATP New York. If you're interested please click here for full details.
5. ATP Recordings / Fopp promotion in the UK starts Monday!
We're excited to announce that Fopp will be running an ATP campaign starting next week from Monday 19th June. Titles include Deerhoof - Milkman @ £4, Death Vessel - Stay Close @ £3, Fuck Buttons - Street Horrrsing @ £7, The Drones - Havilah @ £4, Built To Spill - There Is No Enemy @ £7 and many many more. Go to www.foppreturns.com/stores/ to find your nearest store.
<6. Built To Spill - There Is No Enemy now available on Double 12" Vinyl
Built To Spill's latest fantastic album (and their first for ATP Recordings), There Is No Enemy, is now out on Double 12" Vinyl as well as on CD and Digital Download. The ATP/R version of this album includes an exclusive new song, Water Sleepers, that is unavailable on the U.S. version. To buy it from our website Click Here...
7. Updated UK show listing - including new Yann Tiersen, Godspeed and Broken Social Scene + Tortoise shows
Here's our newly updated UK show listing. New shows include a second London date for Godspeed You! Black Emperor plus a new headline date from Yann Tiersen and two special double headline shows from Broken Social Scene and Tortoise. Please note all shows are in London unless otherwise stated. To buy tickets for any of these shows just click the links...
- Sleepy Sun + support TBC, Bush Hall, 17th August 2010
Avi Buffalo + support TBC, Cargo, 24th August 2010SOLD OUTThe Black Angels + support TBC, The Borderline, 26th August 2010SOLD OUT- Modest Mouse + Yuck, Troxy, 8th September 2010
- The Pop Group + special guest DJ, The Garage, 11th & 12th September 2010
Iron & Wine + support TBC, Union Chapel, 14th September 2010SOLD OUT- The Vaselines + support TBC, The Scala, 22nd September 2010
- Mudhoney + Unnatural Helpers, Electric Ballroom, 6th October 2010
- Broken Social Scene + Tortoise, Koko, 15th & 16th November 2010
- Spoon + support TBC, Shepherds Bush Empire, 16th November 2010
- Beach House + support TBC, Shepherds Bush Empire, 23rd November 2010
- Blitzen Trapper + support TBC, The Garage, 24th November 2010
- Shrinebuilder + support TBC, The Scala, 2nd December 2010
- "Weird Al" Yankovic, The Forum, 6th December 2010
- Godspeed You! Black Emperor + support TBC, Manchester Academy 1, 7th December 2010
- Godspeed You! Black Emperor + support TBC, Glasgow Barrowlands, 8th December 2010
- Godspeed You! Black Emperor + support TBC, Bristol Anson Rooms, 12th December 2010
Godspeed You! Black Emperor + support TBC, London Troxy, 13th December 2010SOLD OUT- Godspeed You! Black Emperor + support TBC, London Troxy, 14th December 2010
8. Hallogallo 2010 at the Barbican
As noted previously in this mailout, Hallogallo 2010 is a group formed by Michael Rother (of Neu! and Harmonia, and member of one of the first formations of Kraftwerk), Steve Shelley (Sonic Youth), Aaron Mullan (Tall Firs) and Ben Curtis (of Secret Machines & School of Seven Bells). As part of their current small run of live shows in which they perform the highly influential music of Neu! the band will perform at the London Barbican on 21st October 2010. Tickets go on sale today from the Barbican website.
iggy + the stooges in france, monaco and belgium july 2010
Diary:
http://hootpage.com/hoot_stooges-wattdiary2010b.html
Diary of April-May http://hootpage.com/hoot_stooges-wattdiary2010a.html
July 11, 2010 featuring: remote broadcast from marseille, france in the Watt from Pedro show http://twfps.com/
http://hootpage.com/hoot_stooges-wattdiary2010b.html
Diary of April-May http://hootpage.com/hoot_stooges-wattdiary2010a.html
July 11, 2010 featuring: remote broadcast from marseille, france in the Watt from Pedro show http://twfps.com/
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