Diskono "Musik Is Tot" Nexus-Lexus-Bulletin *34 October 2000
Presented by Docktor Barnes Advocaat [b.1971]
A few words about Diskono:
"Art prankers with a real sense of muzik biz hate" (V**** W*****)
"A seditious multi-media cabal masquerading as a Scottish record label"
(M****)
[if you do not wish to receive these messages from Diskono,
then please inform us, of course we will think you are a candy ass who hates
Eminem and reads Future Sound, but then again, what do you care what we
think?]
SUBJECT : Janek Schaefer - "Wow" 7" (Diskono 011) Physical remix project
Ok, for a start. A lot of people have asked me about this project whilst I'm
sitting in my local bar memorizing the complete works of Louis Celine and
writing odes to the days before the NME was more cutting edge than The Wire.
Therefore, to avoid future intrusions upon my introspective reflections, I
have decided to lay it all out for your gaze to rest upon.
Physical Remix -Define?
In the course of "physical remix" the individual is given a
copy of a vinyl record and instructed to do anything they wish with it in
order to change the sound or appearance of the record.
The surface noise and mechanics of turntable combining with the original
composition to instigate a deconstructive analysis that is capable of
releasing renewed tensions between the composer, product and listener.
Man, Woman and beast are encouraged to apply this creative process their own
record collection and mail them to friends / strangers, or release their own
physical remix
series (remember and invite us to take part!!)
OK, first rewind."Physical Remix" Why? Why? Because (obviously) we are no
longer in the history of forms.
Traditional modes of reproduction, exchange, composition and production
(economic and creative) are obsolete, as well as the role of music (or art)
as social critique and the model of artist as lone genius.
Well, so what? you say, that's been obvious since Duchamp put a piss pot in
a Gallery, may be so, but we as individuals are not content to try and 'live
with what is left' or engage in a banal / ironic post-modernist 'play with
the pieces', but are determined to make a concerted effort to research and
develop new modes of production and exchange.
To replace old worn out ones is not our aim, as one system is as heinous as
another(ask Stravinsky), our aim is to apply a concerted pressure to force
our way out of the world of representation, this is where our three main
areas of research "Physical Remix", "Unattainable Texts"(*) and "Temporal
Discourse"(*) come into play.
"Music", it is obvious to us, should be made under certain conditions, like
trying to find out who owns a building in a run down part of Glasgow. The
tenants claim it's falling apart. The Janitor doesn't care, he's hired by
some agency, which is contracted by another..and the owner is 25 steps
removed - just collects the rent. This is how "music" should be made, if at
all.
Back to "Wow"
We released 289 copies of the "Wow" 7" in September as part [a], in a sleeve
designed by Janek. (you can read his sleeve notes :
http://www.onoksid.freeserve.co.uk/wow.html)
Part [b] is "Wow" "physically remixed" by friends we had invited and
strangers who dropped by, it can be attained by sending us postage costs in
the pre-addressed envelope provided within part [a]. A copy of part [a] will
then be picked at random to send back.
This selection process, of course, raises issues about record collecting,
music as commerce etc.. that if you are dumb to see for yourself, is not
worth explaining.
A groundswell of action has already began to take place, 3 turntablists from
Japan contacted us last week after being inspired by the sound and concept
of "Wow" and have proceeded to not only make contact, exchange work, but to
compose music using multiple copies of the 7".
The culture of exchange that this is incepting is one that should be taken
on board by all who seek to profit from releasing "music", the possibilities
are limitless, image a world free of consumers and full of producers.
Complete list of individuals who are completing "WOW" physical remixes :
Glasgow Music Collective, Karen X, Bridge & Tunnel, Christopher Bishop, Neil
Christie, Mild Man Jan, Irdial Discs, DJ Ra, Jackie Shearer, Object,
Ultraphonist, Urawa, Antz, Wunderkind Collective, Gordon Dalton, Simon
Vincent, Phactory Collective, Luke Fowler, Modern Institute Collective,
Digital Cow, Farmhand, DJ Ex Spengo, Disinformation, Janek Schaefer, David
Cotner, Dieter Scheying, Christina Kubish, :zoviet*france, Urban Salon,
Bump, Oi Ma, Matt Wand, Martin Tetreault, Phillip Jeck, Alejandra Salinas,
Aeron Bergman, Opopop, Erik M, Ashtray Navigations, Jabes Labelle,
Ttocshagg, Docktor Barnes Advocaat, Joel Ongthorne, Ruti Random, Uter,
WWJD?, Data, Antenna Farm, Graham Mack, Torquil Paterson, Surface Effect,
Robert Lorrigan, Colin Currie, Sico Carlier, Caz McIntee, Radboud Mens,
Staalplaat Sound System, Todd A. Carter, Phillip Von Zweck, Fuz Fon,
Vertonen, Immedia, Mari Caballero, Jason Soliday, Frederick Wells, Christian
Marclay, Phillipe Gusching, Radian, Peter Rantasa, Max Tundra, Peter Boyle,
Alison Boyle, DJ Weckbecker, Neil Cooper, Koodos, Host Productions, Steve
Roden, Gavin Lawson, Elaine Parker, Aporia Productions, Rob Kennedy, Wobbly,
Scientific Support Dept, Douglas McIntyre, Joshua Norton Cabal, Douglas
Benford, Christophe Taupin, Gayle Brogan, Stephen Kuester, Paul Rooney
(*) information to follow in future bulletins
(nb) A performance utilizing the mechanics, philosophy, principles and
sounds of "physical remix" can be presented in a low-cost / multi-action
live instillation performance by Docktor Barnes Advocaat (recent outing @
Gebaude 9 Cologne), full spec is available upon demand.
Docktor Barnes Advocaat
http://www.onoksid.freeserve.co.uk
e : diskono@lineone.net
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