1. "On May 30th of 1968, during the press conference of the XIV Triennale di Milano several hundreds of artists, intellectuals and architecture professors from the Milan University storm the Triennale area and occupy it for the 10 days to come.

    By the end of the occupation, this historical exhibition of 1960s critical avant-garde architecture is almost completely destroyed, the rooms of Archigram, Saul Bass, Georges Candilis, Aldo Van Eyck, Arata Isozaki, Gyorgy Kepes, George Nelson, Peter and Alison Smithson and Shad Woods, and turned to ruins. It will never open to the public".

    The title 'Re-ruined Hiroshima' comes from the name of the large photo montage made for 'Electric Labyrinth' (1968) which presents the concept of apocalypse of ceaseless collapse/generation of future cities.

    Arata Isozaki

    "Arata Isozaki is one of the universal personalities of our time. Not only is he among the best architects in the World in the recent decades, he is also unique as a multi-cultural figure with a global scope - at home in Eastern thought as well as Western philosophy, knowledgeable - as a foundation of his ideas - about the history of architecture and civilization as well as the state of progress of the future.
    He is an observer, as well as creator, protagonist, visionary, artist. His work - built and unbuilt - is a basic contribution to our world of today.
    Isozaki appeared in the sixties with strong visionary conceptions but also rather early with built work. He used different mediums of presentation - not in the traditional way of exhibitions of projects - but the medium was also the message in its own right.
    At the Triennale 68 in Milan his electric Labyrinth was such a statement. This Triennale was a turning point in the idea of such exhibitions - also Aldo van Eyck and me had installations instead of objects on pedestals and the 'walls'. It was a new confrontation with the public - as participant. Unfortunately - in connection with the happenings in 1968 only a few could experience this show.
    It is an important action that this installation of Isozaki has been reconstructed and is shown now in the Moscow exhibition.
    It is not only a historical reconstruction - it is still valid today.
    That brings one to the exhibition in general. Work of different periods is presented and establishes its ongoing actuality.
    Isozaki's visionary projects have - for him and for today's architecture - continuous impact.
    It is interesting to observe how projects like the 'City in the Air' of the early sixties to find now a - transformed - realisation as the Qatar National Library.
    Isozaki can return to early thoughts and bring them to later fruition. The complexity of his architecture derives from his special way of thinking.
    There is continuity in his work - not by repetition, but by constant transformation.
    Like life and death.
    His work can brilliantly shine and explode or decay into ruins, rubble. Or start off with a metaphorical scrap.
    It is not a solution to a problem. It is a statement about the state of the condition of the world today".

    Hans Hollein
    May 2005
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  4. Tilting and Drifting was the moniker given to a rare event staged in London 2 weeks ago. 3 nights featuring the music of Scott Walker with tracks taken from the last 2 albums "Tilt" and "The Drift". This was an unexpected move from Walker and one I am certain developed from his participation in the live presentation of "And Who Shall Go To The Ball? And What Shall Go To The Ball?" last year. The substantial Theatrical elements at play in these events gave weight to this argument.

    The extensive advertising in the last few weeks after the 'all star' line up of vocalists was announced (I am sure Cocker and Albarn managed to fill out the remaining seats) turned out (thankfully) to be somewhat of a ploy as Jarvis opened and Damon closed. The bulk of the material was handled by 'trained' operatic singers which did some justice to that the voice heard on the recordings.

    Most people I know who like or appreciate Walkers last 2 records were concerned that he was not performing. Some did not go for this reason. I think with the track record of Walker and his absurd attention to detail/perfection. And given that he was putting this whole thing together, incorporating the band that plays on the records with a 42 piece orchestra, and himself at the mixing desk for electronic playback, well, i was confident this was not going to be some tribute show.

    The whole affair started pretty poor to be honest. Jarvis Cocker, for what it's worth gave his best for the bile ridden sarcasm that features throughout 'Cossacks Are' but his voice was puny and in sharp contrast to that of Walker. - A weird choice, we know they are good pals and he can pull off the sarcasm but it just did not work. Gavin Friday was next with 'Jesse' and again this had me non-plussed with his over the top (yes, even by Walkers standards!) interpretation and dramatic hand gestures, the cheap video background of an Elvis silhouette was too obvious and I was a bit concerned this could be a night of padded frommage.


    Thankfully the next 45 mins or so was the kind of devastation one would hope for on such an occasion. As it turns out here on in, one was completely submerged in the most unusual world that Walker has crafted. In 'Clara' a dead pig descended from the roof that became the (percussive) punching bag of a boxer that entered from stage right. An operatic singer (Mussolini) laid flat on the ground, a rope tied to one foot as he sang "This is not a corn husk doll, Dipped in blood, in the moonlight, Like what happen in America". A lone female dancer struggled with herself and the surrounding environment violently, until collapsing later in the piece.

    Actors wore Plague masks. Plague masks were stretched accross the entire stage.

    In 'Cue' disembodied voices were heard off stage as a video projected a petri dish writhing with virus (alien-like, disease). The 'wooden box' as heard on the recording and seen in the film was re-built for this performance and with intense volume created a frightening sonic element.

    The general sound in the Theatre Hall of the Barbican was enormous. A dark oppressive mass of strings, edgy electronics, all kinds of percussive effects, a rock band and the singers. A rich sonic platter which, given the emotional weight of this material, was at times overwhelming, often exhilarating.

    The mood was bleak, projected corpses is not the usual Friday evening fare for most people I imagine. Unless you work night shift in a in a Morgue or Hommerton Hospital, Hackney that is!

    The entire show was more in line with the work of Italian Theatre director Romeo Castellucci and the Societas Raffaello Sanzi then any traditional music performance or currently performed Avant Garde music performance. (Note: poverty prevented me from attending any of the Stockhausen works the same week which according too Mr Harper also featured a high Theatrical quota).

    One of the benefits of attending this event was further insight gained to the tracks that feature on the last album, being the dense suckers they are. One example that springs to ma nogggin bing the lyrics sung as a Donkey's 'bray' at the end of 'Jolsen and Jones' I had never quite picked up on before. Also, the subtle electronics within the quiet passages were far more audible then on the recordings creating even more scope to the sonic field.

    Walker is often lumped in with the Avant Garde crowd and I can see his recent output is amongst the most progressive out there. But there are certain elements which does not make for easy footing within this realm. The arrangements are unorthodox, the structure surprising, instrumentation, lyrics and delivery are all unlike anything else in popular (unpopular) culture but the drama is one which has existed since his early 'solo' days. The reliance on mood and emotion is as present as with many orthodox songwriters, the difference being the terrain tackled here is not of the nature that is commonly associated with 'entertainment' and it is this element many people find alienating (intentional?). This aspect, along with the dissonance, strange costumes, unnatural movements of the body and the occasional attack on the audience (at one point harsh lighting was thrown upon the entire audience, creating a rather shocking leap from the din on stage immediately prior) resulted in a significantly powerful show which had some peeps leave the room and me question many days following why work of this nature captures me so much.

    It is a strange world where Walker has chosen to posit himself - popular artist, experimental navigator, poet and occasional works within 'performing arts'. A slippery character like this helps negate the boredom that can arise when all becomes so formulaic. And for this alone we tip the hat, again, for this cat.

    Tracks Performed:

    Cossacks Are
    Jesse (September Song)
    Clara (Benito’s Dream)
    Patriot (A Single)
    Buzzers (Faces of the Grass)
    Jolson and Jones
    Cue (Flugelman)
    Farmer in the City (Remembering Pasolini)
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  6. A drawing by French artist Roland Topor (1938-1997) published by Amnesty International in 1982.
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  7. Well that's it folks. All bets are off, the bookies have gone home and any further punting on your behalf will be considered null and void. May 08 is the second full length release from Basque noise/punk/rock band Billy Bao this year and certifies their position as the most significant, rewarding and exciting musical act this year. I ranted on about Dialectics of Shit when it came out earlier this year and was kindly sent an advance of this release which will see the light of day on cd and wax before the year is through.

    Parts Unknown will do the honours.

    Many listening hours this year has been spent devouring music with a political leaning. This can be edgy territory, often with results that are naive, didactic or simply ridiculous! On the final menu we have the likes of Nina Simone, The Pop Group, This Heat, Robert Wyatt, Fela Kuti, The Art Bears, DG307, NWA and Ice Cube. These humans made works that are a by product of the social circumstance, they are made out of necessity. What Nina Simone was seeing around her and in her own country (black neglect and mistreatment) was the key component to how her 'art' developed in the 50's and 60's, DG307 and the Plastic People of the Universe were appalled at the Russian invasion and loss of individual freedom and their music seethes with anger directed at the forces governing these decisions. NWA is the perfect sound of nihilistic urban frustration which lead to reckless confrontation (not to mention considerable sonic innovation).

    All of these artists exist beyond mere entertainment with an agenda attached to the art that is so 'real' that it makes for something suitably uncomfortable.

    With this in mind, along with the current state of mass confusion via power, corruption, lies and greed i have often thought "where are the artists with something to say today?" The cult of the individual has become so commonplace that most artistic wares are a mere reflection of a spoilt, narrow mindset. To think of the external and to comment on injustice seems redundant in most quarters, unfashionable at best.

    You, who so loudly proclaims being an 'artist' at first meeting. You, artist, please attempt to think beyond your marshmallow existence. I am sorry dear artist but if you are making music, if you have the ability to record and by chance you are lucky enough to have it released or whatnot then you must realise this is a luxury. A total luxury. The time and money required for such 'luxury' does not enter into the lives of many people on this globe. I am so fucking bored of artists complaining about recognition, why this went wrong, why do have i not this, i deserve this if such and such has that etc etc.... Excuse me mofo - please pipe down. The majority of music today is the sound of big mac's. The independent scene is nothing but a micro copy of the big wig formula - cheeseburgers if you will. Self centered plastic drivel born into a system, gently shuffled along the standard mechanisms and spat out the other end.

    Where is the subversion, where is the commentary, where is the ability to articulate a relationship between oneself and one's environment?

    Originality in music - wah? Progression - forget about it! Reference, cite, copy, paste, release, gloat, strut - GLUT!

    I work at a large independent music distributor here and i swear the bulk of titles we get in wear the influences so loudly . When digesting 1 song it takes aprox 1 minute to spot the reference. Popular bands cited in these pitiful works include, Suicide, Modern Lovers, Jesus and Mary Chain, My Fucking Valentine, Black Flag etc This is fine if you like these bands - do your thing, but why the overt reference? Why not add something - ANYTHING to the brew!

    I am perplexed that these folks are putting energy into making their 'own' releases only to make a weak copy of a romanticized past. I am sick of it. Zero tolerance. All 'pieces' of musical ideas may be out there but at least put some effort into organising them with some degree of originality. Retro reference has been the vogue for a few years hand in hand with 3 drops of irony and 6 drops of vacancy - an escape from the unpleasant external environment.

    Surely it can't all be as bad as this?

    MAY08. I must say I was surprised to learn that B.B were releasing another record this year, i thought if it's good they are set to clean up the year it was. It is good, very good. They win. Competition was not so fierce.

    If enjoy your house, car and family - if you are happy to isolate yourself from how the majority of the folks in the world really live then do not get this record. Go buy the new Sub Pop, Matador alterna-subversion and creep back into the mind that feed you in the first place.

    May 08 is no 'ordinary' record and this is a different machine to the one that gave us Dialetics. Familiar elements remain: tunes, noise, fuckery, politics and bile. On 08 the bar is raised, the notch is loosened and the ride is thrilling . Side A has 4 tracks - each referencing and sampling 4 artists that one can assume has had an influence on the band. Luigi Nono, Fela Kuti, Whitehouse and Brainbombs each have a soundbite stolen and a pint raised. Each of the samples are taken from a politically loaded release corresponding to the year it was released - 1968,78, 88, 98... The use of sampling is blatent, mostly underlining the chaos of Bao's tunes - It is possible to cite influences without making a copy of a copy of a copy. Large chunks of Fela Kuti's 'Zombie' provided off kilter percussion and horns to a pummeling machine snare, Whitehouse's 'Just like a cunt' is the plank on to which Bao launches into his own attack.

    Side 2 is a single long track - The aftermath of the sonic carpet bomb that is side A.

    The overall sound of this record is a big, dense gnarled mess in which lyrics are spat at the edge of tolerance. This is no Wacom tablet approach to 'evil' - this is a sincere effort to inform and adjust various ailments within the world in which we all exist.

    The cover is an intergral part of May 08 with a diatribe/rant by bao highlighting various examples of greed, corruption and destruction. There are references to the Basque region and the ETA - Fela Kuti's mother being thrown out of a window by police, commerce as financial godzilla etc ... It looks beautiful and reads like wake up call to the living dead. This essay makes up all lyrics 'sung' on this record.

    For us Billy Bao is THE most vital musical entity on globe earth today. The essence of my enthusiasm lies in the fact that within the current cultural void of historical reference, irony and pastische it is truly rewarding to have a record which is intrinsically tied to the time and place, which is sonically challenging and one that deals with 'real' issues in a manner that is not forced or cliched.

    A glorious warning to you all.
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    Labels: Billy Bao Fela Kuti MAY08 Nina Simone NWA Politics Whitehouse
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