Sissy Spacek reissue
April 19, 2015
Helicopter has reissued the “Dash/Anti-Clockwise” 58-song CD which has me doing vocals (= growling) and playing (= trashing) drums with the California-based grindcore band Sissy Spacek. “Dash” has been released on cassette and LP previously, “Anti-Clockwise” was originally a 7″, and both were collected and released on CD by Gilgongo Records in 2012. Now it’s out on CD again. This is clearly music that refuses to go away. Order it (and other amazing artifacts) from Helicopter. And if you read Norwegian you might want to search out the “Dash” LP, which had my liner notes on it.
PICA034: PBK / Jim O’Rourke: Unidentified Again [2LP]
April 13, 2015
PBK / Jim O’Rourke: Unidentified Again [2LP]
PICA034. Released May 2015. Gatefold cover.
Distribution by Metamkine.
Norway distributed by Diger Distro.
USA distributed by Tedium House.
Please order from one of the above.
Side A: The Turning Night (17:26)
Side B: Myths in Translation (18:00)
Side C: End of the Landscape (17:01)
Side D: Long Lain in the Stream (20:11)
All music by Phillip B. Klinger (PBK) and Jim O’Rourke, 2014-15.
About “Unidentified Again”:
I first met Jim O’Rourke in 1989. We corresponded by mail and would talk on the phone frequently. Jim was in college at that time and he was very excited about music. He sent me mixtapes, we would talk about his love of Van Dyke Parks, his work with KK Null or Henry Kaiser. I also remember he sent me Godflesh’ “Streetcleaner” album which he likened to King Crimson’s “Red”.
Jim’s soundwork was always special and I released one of his compositions on my “Assemblage” compilation tape in 1990. We talked about collaborating, but then my situation changed suddenly and in 1992 I moved to Puerto Rico with my family. My life got complicated and I fell out of touch with a lot of friends while there. By the time I got back to the States things had changed for Jim as well, and he was in a nomadic phase, drifting around, performing a lot of concerts around the world, but a letter I sent to his parents’ address eventually reached him and in 1997 he wrote back and replied that he was only able to finish about ten minutes of electronic music a year. Still, the interest in collaboration was there, though Jim was very busy and things did not materialize in the collaborative direction for us.
That was the last time I heard from Jim for 15 years, until something coincidental happened in 2012. My cousin runs a label and put out a record by Merzbow. One day my cousin informed me that my old buddy Jim O’Rourke had ordered the album. As I was assisting him with shipping copies of the album, I wrote a note to Jim and threw in a couple of my CDs along with the LP.
Not too long after that, Jim and I were in contact again. As is always the case with us, we fell into vigorous conversations about music and everything else – and again the idea of collaborating occurred. Rather suddenly Jim surprised me with source material I could use. I immediately went to work on it, with the idea that approximately 40 minutes would just about be ideal for an LP project. The sound material Jim sent was likely composed on his Serge modular synth. We’d been discussing synthesizer heroes of ours – Jim sharing his love of Roland Kayn’s expressive work and I’m always going on about David Tudor. I worked on the first two mixes, but I dug Jim’s sources so much I didn’t do any kind of manipulation on them. I built audio environments for his sounds to live in, and they do sound alive, like synthetic landscapes with birds or animals of some primitive, or alien, origin and, of course, also huge drones that could be electrical storms. I sent Jim my own sources and he came up with two beautiful mixes, each quite different from the other.
I’m very pleased we finally got to do our collaboration – even if it took a quarter of a century to make it happen.
Phillip B. Klinger, April 2015
April 12, 2015
Finally found time to update my Bandcamp site with more solo works. There are now 18 albums available for streaming and download. Among them are what I consider my “seminal” solo releases: Science Fiction Room Service (1996), Nothing But Sound From Now On (2001), The Shape Of Rock To Come (2004), The Great Silence (2007) and All Music At Once (2010). Later this year I’ll add collaboration albums + collections of odd compilation/remix/unclassifiable tracks. I have ambitions to upload older cassette releases as well, but don’t hold your breath. A separate Jazzkammer site is in the works as well.
2007 Bergen: Sunn Ø))) “Dømkirke” rehearsal photos
April 11, 2015
Some photos from the day before performing what became the Sunn 0))) “Dømkirke” record. Not the full amp line-up (more were added the next day). The windows were shaking.
PBK / Jim O’Rourke double LP coming on Pica Disk
April 8, 2015
Interview with Runhild Gammelsæter
April 7, 2015
Unknown 2012 interview
March 30, 2015
Found this interview dated 2012 in a folder. Not sure what it was for.
Pica Disc, Prisma Records, Personal Best, tours, recordings and more….to call you an active participant of the noise commmunity would be a vast understatement. How do you find time for everything and what will be your main commitments for 2012?
To be honest I’m not really sure how I find time for it all. When I look back at past years I’m amazed of all the things I got done. I think: “Who is the guy who did all this?” (and then: “What a freak.”) Because in the present I always feel like I’m behind on things. I have a strong drive to get things done. I like to get up early in the morning and work focused on projects. This form of creative problem-solving – coming up with ideas and then putting them to life – is stimulating. I simply enjoy what I do. If I have any kind of talent it’s persistence.
In 2012 Marhaug Forlag is certainly my main focus. Pica Disk has taken a backseat and I will just be releasing a handful of releases. I’m also doing a lot of solo performances this year. Since I have a part-time job now I’m touring less than I used to do a few years ago.
You recently started up Marhaug Forlag. Wanna spill the beans on the past, present and future? What motivated you to become a publisher?
I think there is a need for a publishing house that focused on noise and related underground music. So much is going on and so little of it is documented in print. I’m a graphic designer, so the visual aspect of doing print also appeals to me. I’m also fed up with seeing good writing and material confined to the digital domain. An object with a physical lifespan is more interesting than a file endlessly being copied. And digital information disappears. Who keeps a PDF? I want to do publications which will be around for a while.
The first project was the Sudden Infant-book. It was suggested to me by Joke Lanz, and having such an incredible project as the first publication was certainly motivation to get this enterprise going.
There’s numerous possible projects in the pipeline, but I’m revealing them until I know for sure they’re happening. But I can give you a scoop: I’m doing a book on Pain Jerk. I’ve been working on an interview with Kohei Gomi for Personal Best and it turned into such an extensive piece that I saw the potential for a book. Gomi and his Pain Jerk project is kind of an unsung hero of the japanese noise scene. His story is worth telling.
I also have another zine series planned, starting in 2013.
The first issue of Personal Best, your fanzine (or should I say magazine) recently got published and I must say it was a great read and comes highly recommended for anyone into noise culture. How has the response been and what does the future hold? Is it a long term project?
I’m glad you like it. The response has been really good. My idea was to make a more personal type of zine. Over the years I’ve met many interesting people and had great conversations with them, so I figured that would be a good concept for a zine. Just two people talking. The contents of the interviews varies. Sometimes I’m interested in someone’s latest album. Sometimes it’s their whole career. Sometimes it’s non-musical subjects which can give insight to their personalities and what drives them. As much as I love Bananafish – and those long conversation-style interviews certainly is an influence – I try to avoid that ‘witty and weird’-approach and make the Personal Best-pieces as honest as possible.
I’m slightly wary of calling Personal Best a noise culture zine. As much as I’m a ‘noise dude’ and love this scene and its people, Personal Best also reflects the other types of music I’m interested and involved in; improv, free jazz, metal and strange stuff. There are great zines like As Loud As Possible, Special Interests and Night Science which more clearly reflects noise culture (in its many fractions and mutations), but Personal Best is a bit all over the map. I get uncomfortable with set scene boundaries. That’s also why I choose the somewhat awkward name for the zine.
I also want to focus on Norwegian artists that rarely gets their due, so in every issue there’ll be a couple of piece on overlooked Norse musicians. Like in issue 1 I did a long piece on Sindre Bjerga and his work with Gold Soundz. He’s been around forever and has released over a hundred records on his label, yet I’ve never read a proper interview with him, let along an in-depth one. Ditto the guy called Zweizz; a freak who does performances sitting on a toilet with a camera aimed at his anus. That’s worth a 10 page piece in my zine. (Btw – he did the toilet-piece for the launch party we held at a book store in Oslo.)
I’ll continue doing the zine as long as it’s fun and right now it’s great fun. The list of people I want to feature is long. Issue 2 will be out this summer, and I already have material to start issue 3. These will also have more interviews done by other people. Issue 1 was mostly by me, but the aim for future issues is to have at least half by other writers.
Mer Mar, a collab with Masami Akita, just got released on Mego Editions. How did it come about and what can we expect from it?
I’ve known Masami since the mid 90ies and of course his Merzbow project has been a big source of enjoyment and inspiration. I don’t care what noise scene snobs bitches about online. He’s Merzbow and he’s done more for moving noise music as a genre forward than almost anyone. He’s the guy who recorded “Noisembryo”. Case closed. I find great comfort knowing that he’s still around and endlessly churning out new material. There can never be enough Merzbow records. Over the years we’ve done several live collaborations, but we never got the chance to do a proper duo studio session. Luckily we managed to do that at the GOK Sound studio in Tokyo in 2010. We wanted to record together as opposed to the mail-swap formula. We put down two hours of material and I then spent a year or so mixing it (well, obviously not the whole year). People might expect a dense soup of electronic overload from the two of us together, but it’s actually quite sparse, dynamic and open – bits of silence even. A scruffy mix of analog synth sludge and metal scraping. Really happy with it.
Never got around to pick anything up with Faux Pas, but I know it’s a project will Sten Ove Toft. Pure harsh noise, right? Reminds me I should probably pick the tape you did on Second Sleep….
Yes, Faux Pas is very much a furnace noise project. Nothing new under the sun, just a good time shaking our contact microphones towards the full moon. I’m doing similar things with Tommi Keränen in Testicle Hazard, but Sten Ove of course brings his own personality to the music. I’ve known him since he was a young guy starting up, so it was natural doing something together eventually. There’s a manic quality to what he does. He’s quite insane.