Today I will be listening to my new WEBCRUSH. I’m downloading Preslav Literary School’s album Pretext/Context right now, and I think it’s going to sound marvelous in headphones later. I see on the site references to musique concrete, Basinski, and reconstruct/deconstruct. All informative descriptions. The broadest, simplest idea I would tag it with is “accessible experimental”. The accessibility stems from the human hand recognizable as author of the work, and the very earthly soundscapes created. Preview the work here.
Preslav Literary School is Adam Thomas, whose work you may have encountered at various European festivals, where he performs live tape collage. Or you may have encountered his taste in the work of others if you enjoyed transmediale.10, as he was involved with its curation.
His website, in addition to hosting recordings, contains creative writing both journalistic and fictional. I read without surprise that he was reading Gravity’s Rainbow in 2009, and of course I wondered if he completed it (observant readers of Even More Legendary may recall my confession that I have repeatedly failed to do so). The site also reports on projects he’s involved in, like the Berlin Tape Run, whereby a tape changes hands repeatedly over four months, resulting in a collaborative audio document; and Echolalia, featuring a live tape orchestra, a workshop, and a publication of speculative fiction.
I love, in the bittersweet sense of the word love, looking at authentic 70s images. It makes me yearn for an existence with less worry. Sure, I know the worries come from knowledge, and I guess it’s good that we know more things to worry about today. Actually, I am willing to bet there wasn’t even less worry, just different worry, and I am really indulging in nostalgia for something that never even existed. Anyway, check out her socks:
“Mama Cash was founded in 1983 in the Netherlands by five Dutch women active in the women’s movement: Marjan Sax, Dorelies Kraakman, Tania Léon, Patti Slegers and Lida van den Broek. They all strived for the same purpose – more self–reliance and independence for women – and for that reason founded Mama Cash, the world’s first independent, international women’s fund.”
Sometimes it seems like I am always in a near-dustup defending the honourable pastime of Steely Dan fancying. So know, as you prepare your eye-roll or snarky reply to this post, that I have seen it all before and care not.
In case you can’t bear to tear yourself away from EVEN MORE LEGENDARY right now to get this sweet news, here is the upshot: they are performing classics Aja and Pretzel Logic in their entirety currently on the Rent Party tour.
I had thought that performances by Meryl Streep and Philip Seymour Hoffman automatically created, if not masterworks, then certainly exceptional, outstanding cinema. In retrospect, that’s crazy talk and I don’t know what I was smoking, great though they both are. I came to understand this watching Doubt. His performance seems flat to me, considering the story and his role in it. Good thing she presents as complicated and magnetic a performance as ever. Right? Well, sure, if you’re not all greedy about stuff like theme and plot. Or at least not impatient about these things. Because Doubt always feels like it’s about to boil up, so you stick with it, focus on Meryl, second guess where it’s going to go. And then – it’s – over? Fast forward with me now past the anti-climax and disappointment and confusion, through to the surprising delayed engagement this story had planted in me. The movie is made from rich enough concept that you can work out all kinds of premises, subtexts and motivations, all on your own! (If you have a good chunk of time afterward which will make no demands on your mind.) It’s a tell-yourself-a-great-story kit.