To the ground

July 6th, 2008

Reading: JG Ballard High Rise
Listening to: Theo Parrish First Floor

Iain Sinclair in the LRB on the razing of East London for the 2012 Olympics:

The scam of scams was always the Olympics: Berlin in 1936 to Beijing in 2008. Engines of regeneration. Orgies of lachrymose nationalism. War by other means. Warrior-athletes watched, from behind dark glasses, by men in suits and uniforms. The pharmaceutical frontline. Rogue Californian chemists running their eye-popping, vein-clustered, vest-stripping robots against degendered state laboratory freaks. Bearded ladies and teenage girls who never have periods. Medals returned by disgraced drug cheats to be passed on to others who weren’t caught, that time. The Millennium Dome fiasco was a low-rent rehearsal. The holy grail for blue-sky thinkers was the sport-transcends-politics Olympiad, the five-hooped golden handcuffs, the smoke rings behind which deals could be done for casinos and malls: with corporate sponsorship, flag-waving and infinitely elastic budgets (any challenge an act of naysaying treason).

the blue gate

‘Never believe that a smooth space will suffice to save us.’ One of those caveats from A Thousand Plateaus that people forget when they get too wrapped up in their rhizomes and nomads.  Derive without a map.  According this post over at Vimothy’s House of War that’s where the Israeli IDF found itself after after shelving Sun Tzu for Deleuze, Guattari and Debord ahead of its 2006 invasion of Lebanon.  Apparently there was something to the Frieze article from that year which claimed that smoothing was the IDF’s new strategy for overcoming complicating striations like the walls between people’s homes.  Doors and streets are obsolete, just smash and move - up, down, sideways - invisible from the outside.  Now, Vimothy links to an analysis of the 2006 disaster published in The Journal of Strategic Studies which claims that Israel’s fatal blundering had something to do with commanders getting so wrapped up in post-structuralist theory that they forgot how formulate straightforward commands and objectives.

Missionaries Moving

June 26th, 2008

So many people doing cool things right now…

Gutta’s Bleepfiend label kicks off with 10 attic recordings, circa 1993-95, from No. 1 Astronaut, aka, Bob Bharma, “slightly better known today as one half of ’space loop’ composers Data 70.”  Artwork by Woofah contributor Doppleganger and it’s completely free.  »»  Paul ‘Grievous Angel/777/Shards and Fragments’ Meme’s debut full-length CD has landed at Boomkat after many months of preparation.  I’ve had this on a CD-r for a while (’Move Down Low’ was in that Mutantextures mix I did in the winter) and I’m digging Paul’s ‘Ragga Techno’ thing.  Looking forward to the reaction and to the non-album 12″ ‘Lady Dub’ which has to be one of my favourite dubstep tracks in the last year.  Too bad I lost my 320.  »»  My Fellow Americans - Dan ‘Lower End Spasm‘ Hancox and Tom Humberstone’s blog about touring through the US during the Democratic primaries - has turned into a book of Dan’s writing and Tom’s original art.   Independently published and available online at Vented Spleen.  »»  Finally, it looks like Woofah #3 is nearing completion and the contents are just redonkulous. Watch for my Dusk and Blackdown interview.

Also recently launched is Grimetapes.com.  For years, some of us have been pining for early grime adopters like Luka and Silverdollar to digitize their stacks of pirate tapes and put them online.  Dissensus’ slackk has finally set the ball rolling with a dedicated web space and contributions coming from all over.

And, look who’s back: patternloader, sodiumnighlife, and loveecstasycrime.

Seven songs

May 26th, 2008

Clever. Eden tricks me into posting again by naming me in a blog meme. I haven’t quit, I just haven’t had anything to say.

From Transpontine:

‘List seven songs you are into right now. No matter what the genre, whether they have words, or even if they’re not any good, but they must be songs you’re really enjoying now, shaping your spring. Post these instructions in your blog along with your 7 songs. Then tag 7 other people to see what they’re listening to’.

1. Sun Ra ‘Voice of Space’
Bit of a toss-up here, I’ve been listening to a few records pretty incessantly. You could spend a lifetime getting to know this stuff. Cosmic Tones for Mental Therapy - that’s the basic theme.

2. Dusk & Blackdown ft. Durrty Goodz ‘Concrete Streetz’
Love this.

3. Dusk & Blackdown ‘Rolling Raj Deep’
Don’t call it deski. Seriously. But these desi-grime-dubstep tracks on Margins Music are killer.

4. MF Doom ‘One Beer’
I’ve probably listened to more MF Doom than anything else in the last year. I’d been a big fan of KMD and was just getting into the Doom material when grime abducted me. Five years later I’m picking up where I left off. This one’s from MM.. Food. ‘Beef Rapp’ probably wins the day on that one, but it’s sunburns & patios season now and ‘One Beer’ has been knocking around my head lately.

5. Parliament ‘Flashlight’
Zapp’s ‘Dance Floor’ was a contender too. Love that deep, subby, moog funk.

6. Ramadanman ‘Blimey’
Reminds me of Musik-era Plastikman. Wooden, clompy percussion and barely a hint of a bassline. Hessle Audio - Freshness Guaranteed.

7. Ghettovets ‘Lecture’
The Rammellzee in session. Go get a late pass. “If you can find this in your logic banks, then press code 2, and do what it says.” Sneeze with me.

And I’m tagging…

gutterbreakz
paul.meme
loveecstasycrime (you still there mate?)
dense media domain
dot-alt (alex or dan)
patternloader
sodiumnightlife

Bleepfiend

May 26th, 2008

I’ve been meaning to post this all week. Exciting news from Bristol as Gutta launches a new net label called Bleepfiend devoted to lost-found tapes of homemade electronic music. Paleo-techno. The contributors, he notes, will tend to be of a certain vintage - old enough to remember cable tangles, 4-tracks and tiny LCDs, but young enough to count things like hip hop and house as major instigators.

As the blurb says…

This is music made at subsistence level, harnessing whatever technology was available or affordable at the time, from analogue synths to cheap home keyboards, extinct micro-computers to domestic tape recorders. It is the sound of struggle - the creative urge pushing against limitations, forcing the artists to develop their own recording strategies.

The music on offer was recorded in a time before the Internet made it possible to upload, share and promote work to a wider audience. This is music that never had a chance to be heard by anyone outside the artist’s immediate circle of friends. But still it exists…it’s forgotten potential locked in the ferric particles of dusty cassette tapes…

Bleepfiend operates a strict ‘No Soft-Studios’ policy.

I love the prospect of these long-hidden, private electronic worlds being unearthed. Looks like Patchwerkman and Ed DMX releases are already lined up. Who knows what else is out there in the boxes and basements of the now-famous and still anonymous alike.

Oh and it’s all free on a Creative Commons license. Very nice.

Bleepfiend Home: http://www.bleepfiend.co.uk/bleepfiend/
Bleepfiend Myspace: http://www.myspace.com/bleepfiend

PA

March 8th, 2008

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Above: J. Mourinho, kode9 and Burial in a press briefing. Not pictured: Burial.

Just a few short notes because I’m too deep in comp studying to do any more for the next while:

John says the long-awaited second issue of Woofah is currently at the printers and should be hitting shops shortly. More of the same stupidly good editorial content now wrapped in a sexy full-colour cover. Number 1 sold out fast so don’t sleep on this.

Issue 8 of the MONU the Magazine on Urbanism is also out. This time the theme is Border Urbanism with articles on cultures of liminality that emerge in political edge-zones. Also interesting-looking is mu•dot (’the magazine for urban documentation, opinion and theory) which split off from MONU in the fall and (a bit confusingly) kept the old domain name.

And I should have posted this earlier, but if you’re in Ottawa tonight, it’s worth trying to penetrate the blizzard to get yourself to Ladies in the House @ Babylon. It’s an all female lineup of DJs (CPI, Kareyn, Jas Nasty, Ruby Jane and Mz Revolution) and B-girls in celebration of International Women’s Day. A lot of work has gone into this party and proceeds are going to Harmony House, a second stage shelter for women and their children, so it would be a shame if the weather ruined it. Doors open at 10.

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Autonomic Computing - Mutantextures

February 20th, 2008

Mostly built from promos and CD-Rs that people have been kind enough to send over the last couple of months, along with some older bits that seemed to compliment them. The emphasis is squarely on mutant styles and experimental tangents. I cobbled it together fairly quickly so it doesn’t have quite the polish of previous ones. Also, the mixing style is much more relaxed and less layered than before with a bit more emphasis on effects work, lots of EQ-shifting, etc.

Download
[18 tracks / 50 min / 70 Mb]

Shackleton ft. MC Tenfold Vengeance ‘The Branch is Weak’ (cd-r)
Shackleton ft. MC Tenfold Vengeance ‘Death is Not Final’ (cd-r / Skull Disco)
Grievous Angel ft. Rubi Dan ‘Move Down Low’ (cd-r/edit)
T++ ‘Tensile’ (Erosion)
The Bug ft. Flowdan ‘Skeng’ kode9 remix (Hyperdub)
Exemen ‘Far East’ (Manchu)
2562 ‘Circulate’ (Tectonic)
2562 ‘Kameleon’ (Tectonic)
T++ ‘Space Break’ (Erosion)
Appleblim and Peverelist ‘Over Here’ (Skull Disco t/p)
Pinch ‘Dr Carlson’ (cd-r / forthcoming Punch Drunk)
Untold ‘Purify’ (cd-r / forthcoming Hessle Audio)
Pangea ‘Nest’ (Hessle Audio)
Shackleton ‘Death is Not Final’ T++ remix (Skull Disco t/p)
Pinch ‘136 Trek’ (cd-r / forthcoming Punch Drunk)
Untold ‘Kingdom’ (cd-r / forthcoming Hessle Audio)
Ikonika ‘Please’ (Hyperdub)
Amen-Ra & Double Helix ‘Demon Slayer’ (cd-r)

In a similar vein, be sure to check out this excellent mix from the reborn Patchwerk Man. Also Nick’s introduction to T++ from a couple of months back.

Hope you had a Blue Xmas and a Rock-a-Hula, Baby

December 31st, 2007

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TOGETHER AT LAST! Islington’s favourite Elvis and Shackleton make it warm-n-easy on a New Year’s Eve.

Thanks Sam!

Forward Sounds 2008

December 4th, 2007

“And you’ll never hear music like this again”
- MC GQ (AWOL tape, 1993)

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Maybe it’s time to revive ‘Forward Sound,’ though maybe in the plural. Circa 2003 that was the open-ended term that used to describe what eventually became dubstep, along with a tangle of threads that split off or got left behind. Just like house first meant “what they play at the Warehouse,” it was a reference to the club night itself, the only place where you could hear as yet unnamed new mutations of the garage machine, whether in the form of Ghost, Landslide, Menta, kode9, Plasticman, Hatcha, Slimzee, etc, etc. And of course it was hardly a ’sound’ at all. Virtually every artist operating under that banner was a sound unto themselves and the Forward style could only ever be a snapshot of those trajectories out of UK garage that happened to be coinciding on a given Thursday night or in narrow bands of pirate ether.

Forward Sounds: mutant offspring straying into the house, swiping tools from the garage, and hallucinating new machines. For my money, the most exciting times in music are always the ones without names, when refugee styles get promiscuous in the zones between the trodden paths. Seven years on from the first FWD», I think it’s fair to say that the most interesting things in dubstep are increasingly outside. The D is contested territory, expanding around the world while, at the same time, narrowing its musical ambitions. Dubstep’s new mainstream seems happy enough to keep their options limited while more experimental types are left to decide whether they should cling to the name or cut themselves adrift.

In fact, the seismic rumblings seem to be getting louder across the entire spectrum of late-UKG these days. It’s not just dubstep that’s breaking up again. Grime’s undergone its own identity crisis in the last couple of years, struggling with quality control and losing venues over real and imagined violence. Now it’s bleeding into funky/UK house, last year’s bogeyman, death knell of “nuum” (or was that dubstep again?) which itself is slowly turning into a source of tentative optimism. Producers like Apple are hinting at the sort of mutations that originally made UKG into an interesting local product. Meanwhile, D1’s forthcoming track I’m Lovin is being billed by Tempa as a “Dubstep/funky house mutation.”

RWD Mag founding editor Matt Mason recently had this to say on the ‘Maybe Funky House will turn out OK‘ thread over at Dissensus:

It seems like there is a real convergence going on between all the (not so) different London scenes; grime, dupstep, UKG, bassline and funky house are all being appreciated by DJs and clubbers who claim to be into different sounds.

To me a set of all these styles played together doesn’t sound too different from a 1997 UK garage set, when producers, DJs and clubbers were, imho, far less conservative about what they considered appropriate for the dance floor. Which meant you had a scene with the broad mindedness to include everything from DJ Zinc to Masters at Work to TuffJam to Groove Chronicles to TJ Cases. I think this diversity was part of UKG’s (then) mass appeal.

Is this something people could see happening again? It sounds like it might be already.

* * *

Tommorow: Roll Call (edit: delayed but coming soon)

Monoculture

December 3rd, 2007

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I was a bit surprised, a couple of weeks back, to be offered a review copy of Caspa and Rusko’s forthcoming mix CD from Fabric, the offshoot label of the trendy London nightclub. Surprised because I’ve made no bones about my distaste for the brand of dubstep that the disc seemed to be showcasing. Still, I kept an open mind and gave it a go. Maybe it would reveal some new energy bubbling in the mainstream of the genre that I’d been missing since my retreat to the fringe.

Now up to #37, the FabricLive series has been churning out high profile mixes from the likes of Diplo, High Contrast, Andy C, Ricardo Villalobos and Herbaliser since 2001. This is their first dip into the D, which I suppose makes it some sort of 00’s answer to 1995’s A.W.O.L. Live at the Ministry of Sound. Caspa and Rusko might seem a bit of a surprise choice for the job, especially when someone like Skream is only just putting out his first commercial mix and other early innovators haven’t yet had the chance. But maybe that’s the point: take two heads who sum up the sound of dubstep’s new popularity and let them mark their territory. Visionaries they’re not though, and what we get here is a profoundly unidimensional display of tweakhead bass churn and little else. Unfortunately, Dissensus’ Noel Emits hit the nail on the head when suggested it’s “like a concentration camp for all the big wobblas. Just get it out of your system so you don’t have to worry about it again.” If only they’d go away.

Who stole the soul?

Titles like Big Headed Slags, Well ‘Ard and Cockney Thug seem to sum up what Caspa and Rusko are all about when then get behind a mixing desk. And in case you forget that they lace it all with some well ‘ard cockney vocal samples, distilling the technique to minimalist perfection in Thug’s fack! hook. Brilliant. Their combined 15 track contribution to the mix sets the tone with L-Wiz, Cotti, Matty G, The Others, and a few more, mostly drawn from the Dub Police and Sub Soldiers catalogues, filling in the rest.

Early on we get some well-worn dubstep-isms: Caspa’s Cockney Violin does the Hero-esque ‘Eastern’ thing to the hilt and the Tes La Rock remix of Uncle Sam’s Round the Way Girls is one of those dull exercises in fitting a reggae tune into a dubstep template. L-Wiz’s Girl from Codeine City is inoffensive enough but the saxophone bits are a little too 80s soft rock a la Jerry Rafferty, for my tastes. We also get Matty G’s 50 000 Watts VIP, the original of which seemed to become a hit largely on the basis of it being the first instance of someone copying Loefah really well. From the sixth track on we’re treated to a parade of harder-than-though metallic wobbles. It’s the march of the funkless farting robots. And that’s fine if you like that sort of thing, but I really don’t understand this sound’s tenacity. Some have called this a collection of ‘dancefloor bangers’ or ‘crowd pleasers’ which supposedly reaches its pinnacle in the can opener wobbles of Coki’s Spongebob. But what exactly is the appeal of being in that crowd, on that floor? Granted, I haven’t heard Spongebob at full wattage but I can’t see that helping. All it brings to mind is bad nights out in a crowd of over-macho young guys, and that state of dissociative numbness that floods in when it seems as though the sound system has turned against you, personally. Coki, like Loefah, has taken maybe more than his fair share of criticism for stubbornly pushing a singular sound up to and beyond its best before date. But credit to both of them for developing something unique and working to perfect it. This disc reminds us that it’s the acolytes who’ve taken over the man’s sonic territory, kicked it down a notch, and expanded it into a stifling monoculture.

One of the few bright lights here is utterly out of place D1 track I’m Loving from his forthcoming Tempa release. I’ve often found D1 too cold and clinical but less so lately. I’m Loving is outright garage-y - and I mean overtones of New York - but by this point it’s a bit like waiting until injury time to trot out your star player. The one Skream track is barely distinguishable from the rest of the disc, though it does have that extra bit of rhythmic panache that sets even his lesser work a little apart from the pack. The Buraka Som Sistema remix of Cockney Thug provides some brief flashes of joyous energy, though the buzzing dnb-syle synths are grating, at least after an hour of wobbles. The last few tracks are aimed at smoothing things out and, while they veer into New Age synth washes, they at least provide a bit of variation. The most successful of this lot is ConQuest’s Forever which, despite its Lonely Planet tinge, also pares itself down to a nice conga-driven pulse that’s reminiscent of Loefah’s Truly Dread.

What this CD needs from the outset is more of the rhythmic, sonic and emotional breadth that’s kept in reserve until the end. And that doesn’t seem like too much to ask from Caspa and Rusko who, according to the press release, both grew up surrounded by diverse musical influences, including classical training, punk collecting dads, tips from Iration Steppas and a mom who sang in a “weird kind of country/folk” band. Bring all of that together and you could have something that really turns the D on its head rather than a summary of the stagnating trends that have turned mainstream dubstep into an emotional cripple.

That said, this will undoubtedly sell well because, in late-2007, it pushes all the right buttons with the dnb-affiliated demographic that Fabric is openly be courting. If you think ‘cold wobbla’ when you think dubstep, then this is the one for you. If you’re like me lately, you might have found yourself qualifying the term ‘dubstep’ when people ask about your tastes.

* * *

Tomorrow: Forward Sound Part 1

Monu 8: Call for Submissions

November 30th, 2007

Bernd Upmeyer from Monu (Magazine on Urbanism) has alerted me to their current call for papers.  Issue #8 will be titled Border Urbanism:

When cities are located close to borders, they often foster very specific economic features and urban anomalies, which can not be found in cities located in the very centre of a country. Wherever two jurisdictions come into contact, special economic opportunities arise. Cities in border regions may flourish because of the provision of excise or of import - export services - legal or quasi-legal, corrupt or corruption-free. Different regulations on either side of a border encourage services to position themselves in cities close to borders…

Cities located close to borders obviously display an urbanism which differs ultimately from the urbanism of cities that are located more centrally. In our MONU #8 winter issue we aim to explore, reveal and illuminate the condition of such Border Urbanism and invite essays, manifestoes, photography, speculations, sophisticated analysis or simple meditations. MONU #8 will be published in the winter of 2007. Submissions or questions should be sent to monu@b-o-a-r-d.nl by the end of December 2007.

The full text + details can be found at the Monu website.

Raggage, eh?

November 13th, 2007

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A ‘wot do u call it’ moment from the early days of UK Garage. This DJ Magazine article from early 1997 was, apparently, the first and last word on ‘raggage.’ I was curious but skeptical. What kind of name was that? And why would I go for junglish house when I was having a hard enough time tracking down all the actual jungle I knew I was missing while holed up at my base camp in the forests of Northwestern Ontario? Of course I dismissed it and missed it all, only to discover it later, backwards, through grime and dubstep. Which is fine, because I think I like it now more than I ever would have when I was younger. I did hear and like the odd thing like ‘Rip Groove’ but had no idea how to track the stuff down. Interestingly, my occasional trips to Toronto’s Anglophilic record shops towards the end of the 90s yielded no clues that something new was taking over in London. Toronto grabbed hold of jungle early on and never let go.

The Skull Disco winners are…

November 7th, 2007

… Lesha from Indiana and Dissensian Red Crescent. Congratulations you two.  And thanks to everyone who wrote in.  I wish I had more to give away.

Unhome: Vadding the Man-made Unknown

November 4th, 2007

A while back at BLDGBLOG: ‘Drains of Canada - An Interview with Michael Cook’ - fits well with my troglodyte bit (also John Eden’s sewering in Bow E3), and reminds me to do a tribute that I began but never posted two years ago.

. . .

“…a triad of paranoia, sleep deprivation and heavy medication combined to give me visions of an exoskeletal birdman staring through my window from across the hospital courtyard, which led me to fantasize at length about the rest of the hospital…

“Rendered completely uninhibited by morphine and completely curious by my own imagination, I began making excursions all around the hospital in nothing but my bathrobe and slippers, frequently in the middle of the night when almost all the lights were off… I was amazed to find I could get into engine rooms, food service areas and even out onto the roof. Once or twice I found myself trapped in an area which I couldn’t leave without going through an ‘Emergency Exit Only’ door, and it was then that I learned that such doors aren’t usually alarmed… Other times I scared myself out of my skull, as when I realized I was in the middle of the operating room floor while operations were underway, or when I stumbled upon the morgue while exlploring C Wing’s basement late one night.

“… The hospital is one of those glorious buildings which is continually built up, decade by decade, though hardly anything is ever torn down… One by one the single small buildings swallowed all the other buildings around it and amalgamated them all together.”

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These opiated excursions into the ‘ancient and chaotic’ guts of Toronto’s St. Michael’s Hospital by the anonymous Ninjalicious initiated a decade’s worth of exploration and a photocopied diary of clandestine travel called Infiltration. ‘The zine about going places you’re not supposed to go’ ran cover stories like Houses of the Holy, Saskatchewan Sanitarium, Storm Drains, Buildering, Toronto General Hospital, Infiltration at Sea!, and Military Leftovers. No. 18, ‘What Hath We Wrought,’ had the zine owning up to its influence within a growing and increasingly scrutinized urban exploration ’scene.’ Infiltration used to advertise in the back of 2600 mag (’REAL WORLD HACKING: Interested in rooftops, steam tunnel, and the like? …’), with which it shared some philosophical affinities. In fact, hacking and urban exploration have a linked history that runs back to groups of programmer/gamers and tunnel explorers - they called it Vadding - at MIT in the early 1970s.

Infiltration was also the only zine that I followed religiously over its lifespan, picking it up at record shops, better bookstores and anarchist book fares. It tapped into my graf-derived obsession with subterranean TAZs, the man-made unknown and mythillogical infrastructure. (I also grew up in a city dotted with abandoned grain elevators, railway trestles and other decaying industrial leftovers that begged to be explored) Ninj wrote with a charming directness, maintaining a strict ethic of traceless entry and passage, while also delighting in feats of ’social engineering’ and the unfiltered awe of discovery. He had an eye for Frankenstructure - buildings built, bisected, walled off, rebuilt, sectioned, forgotten, built around, through, over-top of - within which epochs blurred and spatial relationships became confused (even in the minds of their daily occupants). More often than not, on those occasions when the explorers were apprehended, their captors seemed surprisingly oblivious to the mysteries of the spaces they used every day. More disappointingly though, some, when confronted by the organic irrationality of the man-made unknown, were actively put-off by the private lives of their buildings and this becoming-autonomy of sections of the urban infrastructure - a case of the unheimlich (unhome » the uncanny) in the most literal sense. ‘But… why would you do that?’ they would ask the explorers, incredulous. Surely, these had to be thieves, vandals, vagrants, terrorists. Luckily, Ninj was good at appealing to his captors kindness and egos.

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The only similar thing I’ve found in print is a London zine called Smoke: A London Peculiar which is nice but comes off overly precious in comparison. There was also the 2005 documentary Echoes of Forgotten Places which is visually stunning, but lapses into strained eulogizing for decrepit buildings’ past glories and our fading ‘heritage.’ (’The forgotten places speak to us. If we choose to listen… we will honour our dead’ etc etc. cue post-rock sublimity) It also, disappointingly, spends all of its time above-ground. At the time of its release, Rick McGrath wrote:

“this documentary could have been a lot more, well, psychological, rather than just tree-hugger logical, and the point of the exercise – to explore some very compelling spaces – would not have been usurped by Robert and Leesa’s often-cornball script, which over-romanticizes both the empty buildings and the long-gone workers who once used the place. They come close to exploring their own psychopathology – certainly they admit to a desire since childhood to explore abandoned places, and they do it today to experience a sense of wonder — but then they lose it by going all rational and self-conscious, rather than losing themselves in their imagination and perhaps revealing these spaces as ciphers of alienation, as landscapes of transition, as metaphors not of death, but of time and entropy. And having some fun.”

Ninj didn’t go for this melancholic wallowing. For him, stuck in St. Michael’s, trying to evade death - and later, tunneling and buildering his way through Toronto’s core - urban exploration seemed to have everything to do with life, the living qualities of these spaces, and a melding of imagination with the concrete. The last issue of Infiltration - ‘Military Leftovers’ - came in 2005, a short while before Ninj’s untimely death. Thankfully, his long-time partner Liz has kept the project afloat, maintaining the website, keeping back issues in print, and ensuring that his book Access All Areas: A User’s Guide to the Art of Urban Exploration was posthumously published.

Find everything at Infiltration.org

Lie to me

November 2nd, 2007

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Burial ‘Untrue’ (HDBLP02) - Out today!

“It’s more about when you come back from being out somewhere; in a minicab or a night bus, or with someone, or walking home across London late at night, dreamlike, and you’ve still got the music kind of echoing in you, in your bloodstream, but with real life trying to get in the way. I want it to be like a little sanctuary. It’s like that 24-hour stand selling tea on a rainy night, glowing in the dark. It’s pretty simple.” (Burial)

“The new Burial LP is as keeningly, ravishingly compulsive as I’d hoped it would be, utterly beguiling vocal science, painfully sad..” (k-punk)

Guardian Interview . Hyperdub Interview . DOTS Pics . Buy @ Boomkat . Buy @ SOTU