Shell-Ears and Tin-Ears (from ‘An Imaginary History of Musical Polynesia’, 2015)

19 Dec

 

Shell-Ears and Tin-Ears

(after ‘War Between Short-Eared and Long-Eared Tribes’, Easter Island)

The tin-eared people were the rulers and they inhabited the big skyscrapers, gated estates and apartment blocks in the most expensive suburbs and cities.

The shell-eared people lived on the poorest land in the small overlooked places, or in the cold shadows cast by the big buildings that belonged to the tin-eared people.

One day, the tin-eared people wanted to build another big skyscraper for themselves on shell-eared people’s land, so they put out a call:

“Come and help us clear these poor lands and make them better,” the tin-eared people said. “If you do this, the land will be improved and the shell-eared people can live there more comfortably.”

But the shell-eared people knew the tin-eared people’s tricks. They knew that the moment their lands were no longer poor they would be taken from them and they refused to do the work.

Then the tin-eared people cleared the land themselves and, angry at having to labour even for a day like shell-eared people do for all their lives, the tin-eared people now said they were building a big complex of luxury apartments for themselves on that land which belonged to the shell-eared people.

And the tin-eared people took the land from the shell-eared people, and built their big complex of luxury apartments there, and then they left them all empty, for the tin-eared people already had apartments and houses and could not live in them all.

While the tin-eared people were building the luxury apartments that no-one needed, they heard the shell-eared people singing and playing on musical instruments in their cramped huts while sitting around their fires, and before throwing them from the land, the tin-eared people said to each-other:

“These sounds will make lots of money for us if we can take them from the shell-ears and sell them to our own kind to play in their cars and offices.”

So before they drove the shell-eared people from their land and away from even the cold shadows of that empty luxury apartment block, they sneaked inside all the shell-eared people’s huts and took away their drums and guitars, their marimbas and flutes.

Only when the tin-eared people had done all this did they drive the bulldozers over the huts and pour the concrete over the places where those shell-eared people’s huts had once stood to erase all trace of them and make it appear they were never there, as they always did.

There was one woman who was very unusual in this story, for though she was born shell-eared she had married one of the tin-eared people in her youth. Now she was full of regrets, for she had found her husband could not respect her because she lacked a tin-ear.

But this same woman had also once been known among the shell-eared people as a great musician, so some of the business associates of her tin-eared husband came to her with all those stolen musical instruments and asked her to play them, as no tin-ear can ever be a true musician.

This woman now knew what the tin-eared people had done to the shell-eared people’s huts, but she played a short song on each of the instruments her husband and his associates handed to her anyway, hoping that the tin-ears she lived among would one day listen and hear something other than the sound of money rattling in every part of the world.

For the truth, as this woman knew to her heart’s cost, was that where shell-ears can hear music, tin-ears can hear nothing but the sound of money rattling in every part of the world, alive or inanimate.

When birds sing, shell-eared people hear the conflicts and courtships of wild nature or a promise of dawn, but tin-eared people hear only the money rattling in their feathers and meat or locked away inside all the timber of the trees those birds make their nests in.

When there is conversation, shell-eared people listen and hear the voices speaking and the words being said, but tin-eared people listen for nothing but the money rattling in a person’s business connections and appearance or locked away in their personal possessions and bank accounts.

When there is music playing, shell-eared people hear its sounds and textures, its harmonies and rhythms, its meanings and shifting atmospherics, but tin-eared people hear only the money rattling about in the infinite numbers of ways it can be wedged into slots on radio and TV or make terrible adverts for things not even other tin-eared people want 4% more effective with some demographics.

This was what this woman’s husband now proved, for hearing his wife play one beautiful song, he only heard money rattling in its slow and languid movements, thinking that it might be made simpler and more cheaply then sold to help other tin-eared people relax after they had spent their days listening for more things to get money rattling out of, which was indeed exhausting.

And hearing his wife play a song full of all the suggestive and snaking rhythms that no shell-eared person could possibly hear without remembering fleshy pleasures and dancing to it until they sweated and became delirious, the tin-eared husband could only hear the money rattling in the possibility of making a cheaper version and putting it on a keep-fit CD to sell at garages.

It is the way of this world that for tin-eared people, who can only ever hear money rattling in everything in this world, alive or inanimate, there is only one distinction that counts among all the sounds, the only subtlety a tin-ear can distinguish that a shell-ear will rarely notice.

For a tin-eared person, money rattles in different directions, so if a tin-ear hears money rattling into his tin, he is pleased and delighted, and he will congratulate himself endlessly. But if he hears money rattling out of his tin, he grows quickly resentful and his mood becomes dark and vicious.

Even so, after all this, or perhaps because of all this, the tin-eared people are still the rulers, and they still live in the biggest skyscrapers and office blocks of the most expensive cities, and the shell-eared people still live on the poorest land in the small and overlooked places, among all the cold shadows cast by the big buildings made for tin-eared people by other tin-eared people.

It is true that the shell-eared people still have drums and guitars, marimbas and flutes, and they are sometimes played, but even when silenced these sounds are suggested by all the noises of the world that made them and are still heard in that world by the shell-eared people, though their hearts might break at what the recognition of these noises conjures and stirs within their bodies.

Perhaps this war between the tin-eared people and the shell-eared people will continue indefinitely.

Or perhaps the shell-eared people will notice that they greatly outnumber the tin-eared people and turn on them, and after great bloodshed leave only one alive, as a reminder to themselves of the cost of inaction should the tin-eared ever again win the upper hand over the shell-eared.

Or perhaps, as that shell-eared woman married to a tin-eared husband hopes, the tin-eared people will learn to listen and hear again, for it is said that their ancestors once heard as the shell-eared people do, before this strange affliction that made them hear only money rattling in every part of this world, alive or inanimate, took them so far away from their own selves and senses that they came to consider any state other than their own an illness to be punished and cured.

Whatever comes next between the tin-eared people and the shell-eared people is not yet known, for the tale is now ended and my page falls silent as this world never will.

Buy Exotica Suite & Other Fictions (Shoestring Press, 2015)

 

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Ten Poems About Nottingham (Candlestick Press, 2015)

20 Nov

Ten Poems about Nottingham (Candlestick Press)

‘The Second Time As Farce’, first published in March 2015 among the uncollected poems gathered in Black Glass: New & Selected Poems, has now taken its (arguably unlikely) place among pieces by Henry Kirke White, D.H. Lawrence, Joan Downar and others as one of the Ten Poems About Nottingham featured in the latest Candlestick Press ‘instead of a card’ anthology.

More details on the publication and its availability can be found on the Candlestick Press website.

 

Exotica Suite & Other Fictions (Launch at New Art Exchange, July 10, 2015)

20 Jun

Exotica Suite & Other Fictions will be out on July 10th, via Shoestring Press for the print publication, and as a full length album, also titled Exotica Suite, on CD from July and as a vinyl LP in 2016. The recordings feature some of the written texts sampled, remixed, re-edited and performed with music by Paul Isherwood, best known for four acclaimed albums made with The Soundcarriers, most recently Entropicalia (Ghost Box, 2014). The launch will also premiere a cycle of related short films to which the recordings act as soundtracks. It’s all scheduled to take place at at New Art Exchange on July 10, between 6 – 9pm, free but booking via Eventbrite is strongly recommended.

Exotica Suite & Other Fictions

BOOK PUBLICATION CONTENTS & BLURB:

Exotica Suite begins with an Easter Island creation chant in the style of William Blake’s Proverbs of Hell and an imaginary Polynesian colony in England in the 1780s then takes in a series of tall tales featuring Hawaiian musicians. Other Fictions fabricates occult histories in Nottingham caves and embarks on a labyrinthine sea voyage with the body of a late Hawaiian King. Now gathered in one place for the first time, the various forgeries, stories, false lectures, misleading anecdotes and other writings in Exotica Suite & Other Fictions are the flip-side to Black Glass: New & Selected Poems, also published by Shoestring.

Exotica Suite simultaneously exists as a vinyl LP and audio CD made in collaboration with the musician Paul Isherwood, best known for his work with The Soundcarriers.

“…spins a web that oscillates between the fictional and non fictional and encourages us to reflect on how we navigate the past and how this could affect all our futures.”

Katherine Wood on Marine (2013)

Book Contents:

Part One: Exotica Suite:
A Creation Fragment from Easter Island
An Account of the Hawaiian Colony in England (1790)
The Kumulipo Variations
Four Hula Songs for the Goddess Laka
The Sorceress
An Imaginary History of Musical Polynesia
(i) The First Musician
(ii) Joseph Kekuku Between Two Worlds
(iii) Sol Hoopii Finds A Sack Of Souls
(iv) Arthur Lyman’s Marimba Calms Pele’s Rage
(v) Shell-Ears And Tin-Ears
Invocation to Sun Ra (1914 – 1993)

Part Two: Other Fictions
Marine: A Story in Eight Objects
A Marriage of Styles
The Disappearances
The Peel Street Codex
The Nottingham Medlars
An Edible Alphabet
Fabricated Archives
Spirit Wrappings: Some Notes on the Rashleigh Jackson Family Collection
A Mandinka Song: Theme & Variations
Disturbances
The Enigma of Robert Holcombe
Convulsive Beauty: A Fabricated Lecture
Twelve Non-Specific Sites

The Sorceress (1955) Latino Graphics E

Exotica Suite LP/CD Tracklist:

Side 1:
The Hawaiian Colony Ballad I
Creation Fragment
Altar Prayer For Laka
A Hula for Laka (For Link Wray)
The Hawaiian Colony Ballad II
The Sorceress

Side 2:
Ankle Bracelet
Flute Interlude
Kumulipo Variation
The Hawaiian Colony Ballad III
Subliminal (Invocation to Sun Ra)

Avant Garde or Last Minute at Sunscreen (EM15 at Venice Biennale, 2015)

10 May

Photosensitive Abstraction

An animated text, made in the form of a screen-saver for the Sunscreen project, curated by Candice Jacobs in association with EM15 at Venice Biennale, went live on April 27th and is now available to download and install by following the instructions on the Sunscreen website. Avant Garde or Last Minute is very loosely linked to an ongoing Robert Holcombe project involving found texts under the title 723 Variations On The Same Theme, and one of around 40 newly commissioned online art-works, including those made specifically for the project by a number of artists I’ve collaborated with or written about elsewhere, not least Shana Moulton, Yelena Popova, Bruce Asbestos, Frank Abbott, Blue Firth and Simon Raven. The full collection of free, downloadable screen-savers by these and many other artists can be browsed here.

And Stand A Ruin Amidst Ruins: Selected Paintings by Tristram Aver (2015)

30 Apr

A new catalogue essay, Domestic Camouflage: Painting in the Pathless Woods, is now available as part of a publication exploring the paintings of Tristram Aver, tracing their evolution from the digitally-inspired abstraction of Low Fat Meal For One (2007) and Sci-Fi Lullaby (2010) to a more recent body of work rooted in eighteenth and nineteenth century genre painting and decorative arts. The recent commissions discussed in depth include The Chase, made for The Cornerhouse, Manchester, in 2012; There is a pleasure in these pathless woods, shown at the Angear Centre at Lakeside Arts in 2014; and …And stand a ruin amidst ruins, currently on display in the Great Drawing Room at Newstead Abbey, where it will remain until July 5 2015. Copies of the book can be purchased here, and a short extract from the essay follows below:

Tris Aver 'And Stand A Ruin Amidst Ruins'

“The palimpsest is typically a page of vellum parchment whose original text has been scraped or washed off and a new text over-written, its particular value to historians being that the under-writing often remains at least partially legible beneath the new text. These over-writings were often motivated by economic considerations, the straightforward recycling of a valuable and scarce material, as vellum was, but the process could also mark an attempt to erase the evidence of an older political or religious order as, for example, when the Medieval ‘Word of God’ was imposed over the pagan writings of Greek or Roman antiquity.

The palimpsest, then, might offer a fitting metaphor for the layers of historical, mythic and physical materials accumulated at a site like Newstead, whose history, from its foundation as an Augustinian Priory around the year 1170 to the present, has been a constant cycle of reinventions. The building’s ecclesiastical origins were followed by varied fortunes in the hands of the Byron family after 1540, and much of the present structure and décor dates from its time as the residence of Thomas Wildman after 1815, and William Frederick Webb, who bought the house in 1861. The philanthropist Sir Julien Cahn purchased then gifted the site to the Nottingham Corporation in 1931, and the Grade I listed buildings and their extensive gardens remain public property, now managed by Nottingham City Council.

Given this complex history, it seems highly appropriate that in order to get to grips with the significance written into a site like Newstead, Tristram Aver’s And stand a ruin amidst ruins (2015) borrows something of the nature of the palimpsest both technically and conceptually. The three painted panels making up the work, presented as a neon-framed decorative screen inside the ostentatious surroundings of Newstead’s Great Drawing Room, layer figurative passages, drawn from the site’s history and present, with stencilled wallpaper patterns, painterly abstract marks and an array of images alluding to the submerged currents of economic and political violence that under-wrote the grand-scale domestic interiors and lavish decoration we see at Newstead Abbey today.

At Aver’s Third Space studio, the shaped panels were developed using techniques of layering, collage and superimposition. Older paintings and studies might be cut up and sections recontextualised, building on, complementing and obscuring many layers of freshly painted imagery. And stand a ruin amidst ruins deploys an initially perplexing range of marks, from abstract swirls and drips to figurative representations. Period wallpaper patterns are stencilled into the backgrounds and foregrounds, where birds and dogs, lurid explosions and floral blooms, bare-knuckle boxers and red-coated huntsmen, all seem to appear and disappear, rise up from and sink back into that insistent, overall patterning. Snarling dogs strain against or seem to break free of a stencilled decorative mesh; trees and flowers create visual rhymes with explosions; the feathers of fighting peacocks and golden pheasants blur into extended passages of expressive brushwork.

There’s a notable ambivalence about the total effect, which seems simultaneously decorative and charged with coded, often disjunctive, potential meanings. The paintings are variously garish and elegantly restrained, abstract and figurative, seductive and threatening, their tone shifting abruptly between one image, one passage, and the next. I’m reminded of the blend of implied threat and domestic decoration found in Charlotte Perkins Gilman’s short proto-feminist novella The Yellow Wallpaper (1892). Gilman’s story centres on a newly married woman taken by her husband to a house – “a colonial mansion, a hereditary estate, I would say a haunted house” – where her domestic confinement leads to an obsession with the unsettling patterns of a sulphurous yellow wallpaper in one room. This pattern takes on an increasingly menacing presence as she strives to strip it, piece by piece, from the wall while hallucinating other trapped women behind it, until she is finally consumed herself, merging with a double trapped inside the ornate design.

Poised somewhere between supernatural and domestic narrative, a Gothic and Modern sensibility, Gilman’s story echoes the ambivalence of Aver’s recent paintings in its use of household décor, with all its connotations of finely-tuned taste and status, as a vehicle for the exploration of the social, cultural and political functions and purposes of such decoration. The dissonant wallpaper patterns described by Gilman’s narrator, as her eye is drawn deeper into their perplexing labyrinth, parallel the compositional swerves and shifts in technique to be found within the decorative elegance of Aver’s neon-framed triptych when it, too, is viewed more closely and the figurative details, with their overtones of aggression, begin to emerge. As Gilman writes of that insidiously threatening fin-de-siecle wallpaper design:

Looked at in one way each breadth stands alone, the bloated curves and flourishes – a kind of ‘debased Romanesque’ with delirium tremens – go waddling up and down in isolated columns of fatuity. But, on the other hand, they connect diagonally, and the sprawling outlines run off in great slanting waves of optic horror, like a lot of wallowing seaweeds in full chase.

The whole thing goes horizontally, too, at least it seems so, and I exhaust myself in trying to distinguish the order of its going in that direction. They have used a horizontal breadth for a frieze, and that adds wonderfully to the confusion.

There is one end of the room where it is almost intact, and there, when the cross-lights fade and the low sun shines directly upon it, I can almost fancy radiation after all, as the interminable grotesques seem to form around a common centre and rush off in headlong plunges of equal distraction…

[Gilman: The Yellow Wallpaper, 1892]

This passage, with its powerful sense of decorative order laced through with uncertainties and unpredictable visual movement, might be mapped onto the compositional impact made by Aver’s triptych, but perhaps the keyword here is ‘distraction’. The décor of the English country house in the age of the slave trade and British Empire, after all, was often a very literal means of distraction, claiming status at home by laundering money imported from elsewhere, as newly wealthy landowners spent lavishly on artefacts and domestic luxuries that simultaneously belied and exposed their money’s origins…”

More on Tristram Aver’s work can be found at: http://www.tristramaver.com/

Black Glass: New & Selected Poems (Shoestring, 2015)

3 Apr

Black_Glass

Black Glass: New & Selected Poems (Shoestring Press, 2015)

ISBN: 978-1-910323-25-0

120 pages, paperback, 148x210mm

Wayne Burrows is a poet whose imaginative flair is matched by his readiness to experiment with a variety of forms and themes. Since the appearance of his first full collection, Marginalia, he has published sequences of free-standing poems, often in pamphlet form, and has worked with visual artists as well as on film projects. Black Glass brings together a substantial selection of previously published work and more recent, uncollected material.

Wayne Burrows was born in Derbyshire, grew up in Mid-Wales, then lived in Sheffield and East London, where he worked mainly as an editor and freelance journalist. Recent publications include Spirit Wrappings: Some Notes on the Rashleigh Jackson Family Collection (2012), Marine: A Story in Eight Objects (2013), The Holcombe Tarot (2014) and Exotica Suite (2015). He has also made several short collage films, including Disturbances (2010), The Serendipity Loops (2012) and Subliminal (2015), and created fictional retrospective exhibitions under the entirely fabricated identity of the British artist Robert Holcombe (b.1923 – d.2003).

Marginalia is a book about being in love in our increasingly weird world, transformed by the scientific view and the bombardments of the media. It’s exploring a new feeling of being human, registering the survival of love in spite of everything.” – Ambit

“The power of the genuinely surreal comes together here with a different kind of haunting (Dutch) painterly perspective.” – TLS

Marginalia is a considerable achievement.” – Poetry Wales

“Baroque manipulations of natural imagery set his work well apart from writing in the green affirmative mode.” –Poetry Review

Contents: Black Glass: New & Selected Poems (2015)

from Marginalia (2001)

Llanddwyn
After Englynion
Binary
A Recipe For Insanity
Stanzas for the Harp
Transference
Marginalia
The Bubble

from The Protein Songs (2005)

The Protein Songs
That Afternoon
Siesta Hour

from Emblems (2009)

A Trick of the Light
Slapstick (Coda)
The Archway Altarpiece
Side-Effects
Underground

from The Apple Sequence (2011)

The Apple Prologue
The Apple Migrations
The Roots Of The Apple
(i) East Malling, 1912
(ii) Herefordshire, 2011
Egremont Russet
James Grieve
Hidden Rose
Newton’s Wonder
The Apple’s Song In Autumn
Things That Are Not Apples
A Grubbed Orchard (Does Spring Come…?)
The Order of Seasons

Uncollected Poems (2006 – 2014)

Lines After Abbas Ibn Al-Ahnaf
The Blue Wolves and The Wheelbarrow
Black Glass
Zeropolis, or Shelley in Las Vegas
Instructions for Baking the Nottingham Golem
A Simultaneous Translation
The Second Time As Farce
Luigi Russolo
The Shadow
By Way Of Digression…
Mnemonic
Sonnets in the Aftermath and Anticipation of a Financial Meltdown
(i) Genesis
(ii) The Commandments
(iii) A Prayer
(iv) Revelation
On A Very Small Planet, Not Too Far Away

A Cycle of Songs from the Body’s Interior (2013)

Prologue: Panis et Circensis (Bread and Circuses)
(i) The Leukocytes
(ii) The History of the Red Cells
(iii) The Origin of the Heart Beat
(iv) Electrical Changes in the Heart
(v)Perfusion of the Excised Heart
(vi) The Circulation
(vii) Skin Sensations
(viii) The Lachrymal Apparatus
(ix) The Properties of Nerve
(x) Nerve Regeneration
(xi) The Peripheral Nerves
(xii) The Endocrine System
(xiii) The Semicircular Canals
(xiv) The Primary Organs of Sex
(xv) The Physiology of Reproduction
(xvi) Pregnancy and Parturition
(xvii) The Quadrants of the Breast
(xviii) The Deep Layers
(xix) The Arterial Pulse
(xx) The Cortical Structures
(xxi) Examination of the Tongue
(xxii) Supplementary Physical Signs
(xxiii) The Degeneration of Tissue
(xxiv) Disorders of the Heart
(xxv) The Coats of the Eye Ball

 

Shorts and Found Footage with Crate Diggin’: Fridays at Rough Trade (Dec 19 – Jan 16)

20 Dec

CRATE DIGGIN FRIDAYS

Some short films and related found footage will be showing alongside the Truth & Lies nights upstairs at Rough Trade, Nottingham, over the next few weeks. The first selection, themed around the Cold War, screened on Friday 19th Dec, the second – films linked by an interest in Exotica – is on Jan 9th, and the final set of films, built around Disturbances and Design – plays on Jan 16. Crate Diggin‘ is a regular slot hosted by Joff & Ex-Friendly at Rough Trade and covers soul, funk, jazz and anything else the DJs feel like spinning from 7 – 11pm every Friday. The following post offers a few comments on the material selected (note that films are screened at Crate Diggin’ without sound, for obvious reasons, so I will add links to versions with their original scores and soundtracks intact to this post after each event).

Moscow 1972 (Kino)

Part 1: The Serendipity Loops and the Cold War (19 December 2014)

The Serendipity Loops (Wayne Burrows, 2012)

This film runs in six sections, made up entirely of still images, and draws on a large archive of print material produced on both sides of the Iron Curtain during the Cold War period, sequencing Western and Eastern Bloc material in ways that emphasise their essential similarities. Each section is edited to accompany a piece of music, ranging from Tom Dissevelt’s ‘Whirling’ and Dick Mills’ ‘Purple Space & White Coronas’, early experiments in sequenced and atmospheric electronic music; to the late Graham Dalley’s ‘Pacifico’ and ‘Surf Ride’ (both from his privately pressed 1966 LP ‘Graham Dalley At The Barn Restaurant, Solihull’); ‘Elusive’, a Studio G production for an Avon marketing flexi-disc narrated by Patrick Allen (who also did voice-overs for the British Government’s notorious ‘Protect and Survive’ series of 1970s Nuclear fall-out public information films); and the anonymously produced Radiophonic Workshop alien invasion scenario of The Cimex Corporations’s advertising 7” extolling the value of their industrial cleaning services. The introductory sequence, built around machine-like heartbeats and Andre Bazin’s 1946 comment about cinema returning to its origins, reflects this film’s own status as a kind of digital magic-lantern slideshow.

Out Of This World (General Motors, 1964)

A beautifully made commercial film produced by the Frigidaire division of General Motors and based on their exhibit at the 1964 World’s Fair in New York – a piece of corporate Cold War marketing that seems to echo the identical tendency in the Soviet Union at the same moment to promise a utopian future. Its vision is – as such visions usually are – both seductive and slightly terrifying.

Village Sunday (Stewart Wilensky, 1961)

In contrast to General Motors’ corporate and technological vision of the future, another strand of the Cold War narrative is seen in an early form here, as Jean Shepherd narrates a whimsical portrait of New York’s Greenwich Village, just on the cusp of its decisive transformation into a counter-cultural byword. Painters, small theatres, musicians, beatniks and drop-outs – all ending with some great footage of the Beatnik/Surrealist poet Ted Joans giving a recital with free improvised jazz-flute accompaniment at a Greenwich Village artists’ hang-out.

Biological Camouflage (New Zealand) [1978]

Part 2: Entropicalia and Exotica (09 Jan 2015)

Biological Camouflage: Entropicalia (Wayne Burrows/The Soundcarriers, 2013)

Something of an experiment, this film is made up of still collages from various iterations of the ‘Biological Camouflage’ series, made by fictional British artist Robert Holcombe between 1974 and 1978, set to music by The Soundcarriers, then punctuated with a short, repeated animated photo-sequence of a sleeping woman. The song – to whose propulsive rhythm the images are cut – is ‘Entropicalia’ from ‘The Other World of The Soundcarriers’, issued on The Great Pop Supplement during 2013 (a vocal version is available as the title track on the band’s first release on the Ghost Box label, released in May 2014).

Afro Mood (Unknown Director, c.1947)

A short burlesque film in which the dancer Amalia Aguilar pulls some incredible moves to some hot Afro-Cuban jazz. ‘Afro Mood’ is one of two numbers that she also performed in a movie entitled ‘A Night at the Follies’ (1947) which perhaps helps to date this particular clip, which was produced as part of an ‘exotic’ series, ‘Joe Bonica presents the Movie of the Month’, possibly intended for viewing as individual segments on reels sold for private entertainment and parties.

Exotica Fragment (Wayne Burrows/Paul Isherwood, 2014)

A very short loop of re-edited footage from a variety of public domain sources, ranging from a 1920s adaptation of The Lost World to undersea documentaries, Cheerios commercials, burlesque films, a study of ants and an advertisement for a wall street consultancy. The score includes an incantation from an Egyptian son-et-lumiere recording of the 1960s and an early sketch of a track made by Paul Isherwood for a forthcoming project, Exotica Suite, set to be released as a book, vinyl LP and series of films in late June 2015, financially supported by New Art Exchange and Arts Council England.

Disturbances (still) [2010]

Disturbances and Design (16 January 2015)

Disturbances (Wayne Burrows/Jon Brooks, 2010)

‘Disturbances’ is a short film compiled from found 35mm slides and it was originally screened with a recorded score made for the purpose by Jon Brooks, then narrated with a live voice-over as part of an Annexinema event at a disused cinema. Brooks is best known for his work with Ghost Box records, under the identity The Advisory Circle, though he has also released two LPs – ‘Shapwick’ and ‘52’ – on Frances Castle’s Clay Pipe imprint under his own name.

Design For Dreaming (General Motors, 1956)

A visually incredible long-form musical commercial advertising the General Motors Motorama of 1956, presenting consumerism as a fabulous dream world. It’s likely that this was exactly the kind of film that inspired the early days of British pop and youth culture, as seen in exhibitions like the Independent Group’s ‘This Is Tomorrow’, staged at the Whitechapel Gallery the same year.

Film Strip: 1966 (Wayne Burrows, 2012)

A digital reconstruction of a sequence of still images compiled in a concertina book by the fictional British artist Robert Holcombe in 1966, with a score by British electronics pioneer F.C. Castle.

Bonus Programme: the Beats, Smoke & Pickles New Year’s Eve party at Rough Trade, Nottingham, will involve a further set of films, 35mm transparencies and more screening alongside music from Truth & Lies, Dealmaker & Can’t Stop Won’t Stop DJs and street food by Kimberley Bell (of Small Food Bakery). All free, and running from 8pm till 2.30am.

Exotica Suite at New Art Exchange (16 April, 2015)

10 Dec

Kapu (Forbidden) - Exciting Sounds of Milt Raskin (Crown Records, USA, 1959)

‘Exotica Suite’ (New Art Exchange, 16 April 2015)

New Art Exchange and Arts Council England are currently supporting Exotica Suite, a collaborative work by Wayne Burrows (text) and Paul Isherwood (music) exploring the ‘Exotica’ craze of the 1950s – and the threads connecting its play with real and fictional cultural artifacts and identities to artists like Sun Ra and E.A. Markham. To explore the themes raised by this new work, Wayne Burrows has invited a panel of artists to take part in a conversation. All address questions of identity and authenticity in their own work, but each does this in their own way and to a different purpose.

Fawzia Kane uses the voices of real and mythical characters to explore history and storytelling in poems and fictions set in London and Trinidad, with nods to traditions of Carnival masking. Kashif Nadim Chaudry grounds his sculptural work in his own experience as a gay Muslim male, born and raised in the UK, working with fabrics to create objects that are opulent and uncompromising. Maryam Hashemi, a London-based painter who grew up in wartime Tehran, regards her work as an interconnected autobiographical sequence, rooted in experiences that are simultaneously real and symbolic, magical and imaginary.

Notes on the panellists:

Fawzia Kane reading with Stonewood Press (2014)

Fawzia Muradali Kane was born in San Fernando, Trinidad & Tobago, at the cusp of the country’s change over from being a colony to full independence. She came to the UK on a scholarship to study architecture and now lives and works in London where, along with Mike Kane, she is co-director of KMK Architects. Her poetry has been widely published and is collected in Tantie Diablesse (Waterloo Press, 2011) and Houses of the Dead (Thamesis, 2013). She has also written a novel, La Bonita Cuentista.

Kashif Nadim Chaudry - Swags & Tails (2014)

Kashif Nadim Chaudry  is a sculptor whose work focuses on negotiating an identity as a British born, Pakistani, gay Muslim. His installations bring together a family history of tailoring, borrowing from historical periods such as Mughal India and Tudor Britain, and draw on the creative disciplines of sculpture, architecture, interior design and Bollywood cinema. His work is both opulent and abject, including luxurious fabrics, human hair and animal bones. Recent exhibitions include Memes (Djanogly Gallery), Nads (Lace Market Gallery) and Swags & Tails (Asia Triennial, Manchester).

Maryam Hashemi - Motherships (2010)

Maryam Hashemi’s work is rooted in her wartime childhood in Iran, layered with everyday, subconscious and often absurd events. She studied Graphic Design at Azad University in Tehran, held her first solo exhibition in 2001 at Haft Samar Gallery and was selected for a group show of Iranian female painters in Brussels the same year. She moved to the UK in 2002 and recent exhibitions include ImaginHer (198 Gallery, Brixton), Inner tales of my outer shell (Westminster Library) and Edinburgh Iranian Festival. In May 2014 she featured in a BBC 2 documentary, Making Art.

Yma Sumac - Mambo (Capitol Records, USA, 1954)

Robert Holcombe as Fiction at Nottingham Writers’ Studio (October 6th, 2014)

11 Oct

Immersion (Milk Capital III) [1970]

On October 6th 2014 I was invited by NWS director Pippa Hennessy to deliver a short talk about the origins of the fictional artist Robert Holcombe, and the shift in my general approach to writing since around 2010, as part of the regular ‘social’ event held every month at Nottingham Writers’ Studio. As I’d got the notes already written down and the images gathered for the slides used on the night, it seemed worth preserving an outline of the talk here, if only because it might help to explain what it is I think I’m doing and how I ended up doing it…

Wood & Ink (Shoestring Press) (545x800)

At the start, writing poetry for the most part, I worked in the generally accepted way. That is, I mostly did things other than writing for a living (in my case, working in retail, picture framing and other similar trades) and sometimes got to write things in my spare time. I sent these things out to the magazines I knew about, who would sometimes publish them. At a certain point I had gathered a book’s worth of poetry that seemed both OK in itself, and gave an impression of coherence, so this was sent out to publishers. Marginalia appeared from Peterloo in 2001, and after several years focused on a day job in freelance journalism, compiling a fragmentary book about money called Shrapnel and developing projects like a sequence about genetics written for a dance company in 2005, a second short poetry collection, Emblems, emerged in 2009.

The Apple Sequence (Orchard Editions, 2011)

It’s worth noting that I still work this way, though I’ll admit that I’ve been negligent about sending things to magazines since 2010, perhaps because I edited one, called Staple, between 2007 and 2011, and needed a very long break from the endless round of envelopes, stamps and emails by the time its natural life-span expired. Even so, a series of poems written in response to woodcuts by Alan Dixon were included in the anthology Wood & Ink last year, and a body of new work, including the sequence A Cycle Of Songs From The Body’s Interior, will feature in Black Glass: New & Selected Poems, which is forthcoming from Shoestring in March 2015. But there was also a turning point, where a new way of working became possible, and this was probably a 2010 commission to work with Neville Gabie on a project built around the redevelopment of Sneinton Square, a historic fruit and vegetable market on the Eastside of Nottingham.

Sneinton Square by Patel Taylor Architects

This project became known as Orchard  and my contribution to it was a book-length series of poems called The Apple Sequence, a 64 page publication distributed free to an audience not usually engaged with the arts, but with a stake in the future of the site: market traders and their customers, activists involved in urban food production on the many allotments and city farm nearby, tenants and residents of the Sneinton and St Ann’s areas more widely. The commission included money to cover production of an artwork, so I used this to create a book from scratch – designing, typesetting and writing it simultaneously, to a tight deadline and with a definite public purpose. This seemed a more interesting way of working than the standard literary and publishing industry model. More to the point, it seemed to work, with The Apple Sequence widely read by those we’d hoped to reach.

Robert Holcombe: Marine (1955)

Yet the fact that this book was directed not at the poetry world in the standard way, but addressed to a very different readership, seemed to mean that as far as conventional literary acknowledgement went The Apple Sequence barely existed. Perhaps this was partly delayed response: no reviews, for example, but one of the few literary events the Apple Sequence poems were presented at was a Nine Arches Press reading in Leicester soon after publication – so the apple-themed anthology that appeared from Nine Arches this year may not be entirely unrelated to the 2011 project. At any rate, The Apple Sequence proved liberating in terms of the control it allowed over the design, format and speed at which the book could appear, and for the readership it was able to find while by-passing the usual literary channels. It is probably not insignificant, either, that the work of writing poems was, for once, reasonably well paid upfront.

WayneBurrows_Robert_Holcombe_The_Modernists_Diptych_I_(Primal)_[1972]_(2014)

I’ve been exploring the possibilities of this way of working ever since, in poetry and various kinds of non-mainstream fiction, the resulting work mostly distributed outside the channels of traditional publishing. A couple of these later projects might include Spirit Wrappings (2012), which was produced as a short, beautifully designed fiction chapbook by Nottingham Contemporary, commissioned in response to an exhibition about a collector named Rashleigh Jackson by visual artist Simon Withers and curator Abi Spinks, and The Disappearances/The Peel Street Codex, commissioned by Jo Dacombe and Laura Jade Klee of Sidelong to be performed in caves, then made into booklets for A Box Of Things (2014), a limited edition publication documenting a project based on the myths and legends of Nottingham’s cave network.

Robert Holcombe: Biological Camouflage (Les Chateaux de la Loire I) [1977]

The creation of Robert Holcombe, an alter-ego who could be put to many different uses, was almost accidental. He first appeared in a novel I’d been writing, Albany 6, which traced an alternative history of the late 20th century, where he was the author of a handful of pulp science-fiction stories that had shaped the obsessions of the book’s main protagonist, a Chicago musician named Thomas Satz, and grew from there. His public debut was as the subject of a fictional lecture during 2010, expanding on one of those pulp stories, Not smoking can seriously damage your health (1976). More fake lectures have been delivered since, among them a fabricated paper exploring the invented connections between Holcombe and the post-war Polish sculptor Alina Szapocznikow, presented at a Nottingham Contemporary symposium on the meaning of disgust in November 2013.

The Modernists: Portal (1967)

So who is Robert Holcombe? An exhibition hand-out written in early 2014 gives the basic facts of his fictional biography:

“Robert Holcombe is an entirely fictional British artist (b. Leeds 1923 – d. Exeter 2003) whose fascination with collage was first discovered when he began cutting up magazines and rearranging the parts whilst convalescing from injuries sustained in 1944, during active service in Malaya. He was a radio engineer, a contemporary of Richard Hamilton at the Slade School of Art  and, from 1955 until 1988, a planning officer in Leeds. He maintained a long correspondence with Eduardo Paolozzi, whose interest in elaborate fictions and alternate realities he shared. Although Holcombe did not exhibit publicly during his lifetime, he made most of his work under two pseudonyms – Gene and Michael Harrison. It’s also notable that many of his images, particularly those featuring material rooted in fashion, advertising and technology, show a more ambiguous enthusiasm for the world of the Post-War era than was usual at the time. His works are marked by a fascination with consumerist excess, inscrutable apparitions of surgical, sexual and folkloric symbols inside modernist interiors, and unsettling disturbances of ordinary space”.

From The Holcombe Family Bible [Apocrypha - The Appearing of Three Angels to Abraham] (1967)

Another lecture on Holcombe’s work was improvised at a closing event for the fictional retrospective exhibitionThe Family Bible & Other Fables: Works From The Holcombe Collection 1948 – 1978, staged at Syson Gallery in January 2014. This outlined links between the fabricated collages on the gallery walls and their literary sources, some fictional, like Holcombe’s own pulp SF writings and letters, others, like Angela Carter’s The Infernal Desire Machines Of Dr Hoffmann and JG Ballard’s The Atrocity Exhibition, very real. A quote from Ballard’s The Atrocity Exhibition perhaps gives a flavour of the literary origins of Robert Holcombe: “These mental polaroids form a large part of our library of affections”, writes Ballard. “Carried around in our heads, they touch our memories like albums of family photographs. Turning their pages, we see what seems to be a ghostly and alternative version of our own past, filled with shadowy figures as formalized as Egyptian tomb-reliefs.”  

Marine - A Story in Eight Objects (Nottingham Castle, 2013) Cover design by Joff + Ollie.

The first time all of these literary, historical and visual threads had come together in a single place was in Marine: A Story in Eight Objects, commissioned by Nottingham Castle and Fermynwoods Contemporary Art to be part of Make Believe, a series of interventions in the collections and grounds of Nottingham Castle during 2013. The exhibition explored the blurring of fact and fiction in the site’s real and legendary histories and Marine combined a 30-page print publication, tracing the actual and imaginary resonances of a sea voyage from England to Hawaii aboard HMS Blonde in 1824; a film remix setting fragments of that published text to 1950s ‘exotica’ music and sequences of still visual images; and an installation featuring a Holcombe work inside a high security case (another collage appeared as the book’s frontispiece and the opening image of the film).

Make believe -7560

The Marine film and publication were also presented at two venues during the inaugural Pilot Festival in Brightlingsea, suggesting that they did not depend on the site specific context they were devised for. Site specificity could also arise by accident: with Holcombe having been at least partly inspired by JG Ballard, it seemed a good omen that the second fictional retrospective – Folklore, Ritual and The Modern Interior: 1955 – 1975 – was shown at a London gallery named (by the curators, Pil & Galia Kollectiv) after three ‘psychic projections’, Xero, Kline & Coma, who appear in several of Ballard’s books. Even more pertinently, the exhibition accidentally coincided with a major Richard Hamilton retrospective at Tate Modern and Hannah Hoch’s work just down the road at the Whitechapel, both of which added a certain additional resonance to the work on display.

XeroKline&Coma

Holcombe’s Performing The Curtain Rituals series, supposedly made in 1966, directly referenced work by both these neighbouring artists, a fact that earned the show a small place in a dissertation on the politics of parafictional art published by Keren Goldberg at the RCA in summer 2014. This seems apt, as chance meanings were the subject of The Holcombe Tarot, a series of 78 collages made between 2011 and 2014 in which a few classic Tarot symbols, like Death, The Tower, The Lovers and The Priestess, were vastly outnumbered by such oblique images as The Mirage (some banknotes hovering above a glacier), The Source (a gigantic chrome tap standing in a ruined abbey), The Purge (a burning rice field, suggestive of the late Vietnam War context in which the cards were made) and The Nest (a classical column protruding from a birds’ nest). Devised to appear meaningful, while remaining open-ended, the curious thing is how the drawing of one of these cards can still feel significant.

Tarot Series (The Mirage)

These cards were first shown (as a selection of 12 collages) at Xero, Kline & Coma and have since been prototyped as a working Tarot pack and launched on Kickstarter, so a limited edition of 100 packs of The Holcombe Tarot will be produced in November 2014. The Holcombe Tarot also, I suppose, works as a kind of mutated poetry collection: a gathering of images that seem to relate to one another, can be ‘read’ in sequence or dipped into at will, each card freestanding but dependent on the others. Perhaps this is the thread connecting these bodies of written and visual work. Collage and poetry, after all, both operate through the selection and recombination of images and details from multiple sources. In a poem it might be a written recollection or voicing where a view of an apple orchard merges with a memory of factory machinery; in a collage it might be some photographic combination or overlay of the two things. The effect, either way, is similar.

GBX020 CD 800

A project currently in its early stages of development is Exotica Suite, a collaboration with the musician Paul Isherwood (look up The Soundcarriers’ back catalogue for some examples of his work). At this point Exotica Suite is not planned as a Holcombe project but a sequence of new texts exploring identity as something constructed, both for us, socially, and by us, in response to assumptions made by others. Inspirations are figures like Sun Ra, Yma Sumac and Jack Bilbo, who each in some way refused or complicated authenticity and rebuilt reality around themselves (as Holcombe notes in a 1984 letter: “We resist the effort to shape us by a refusal to accept the stifling conformity of being ourselves.”). Where all this will lead is not yet known, but the results will be released as a vinyl LP and download and a print publication. There will be events at New Art Exchange to introduce the ideas and influences behind the project and discuss the issues it raises. I think it is going to be interesting.

Vicious British Bullshit: A Few Known Antidotes (2014)

4 Oct

Sleaford Mods

The other week, Pieter Last from Rammel Club sent me a message to see if I’d be up for playing some Eastern Bloc vinyl records early doors and between the first couple of band changeovers at the two sold-out homecoming gigs by Sleaford Mods in Nottingham, a question to which there was only ever going to be one answer. I’d seen them play at least twice before, once in the days before Jason Williamson’s hook-up with Andrew Fearn, once after it, and the change between 2010 and 2012 had been remarkable. In 2010, Williamson’s persona, observations and potential were all there, but with Fearn on board, things had become very different. However great a joke it seems that Fearn just pushes the ‘play’ button on his laptop and stands back when they’re onstage, it’s clear that offstage, making the loops, something miraculous is at work – one after another, Fearn’s loops are so brutally memorable that it’s as though he’s hit on the dance music equivalent of The Ramones’ early catalogue of primal guitar riffs.

More recently there’s been something else, too, and that’s the energy that comes with being heard. Put bluntly, it’s hard to sustain things when your focus is chopped up by other commitments, one gig every few months, or weeks, between office jobs and the usual kinds of everyday shit the world at large dishes out. Even when that’s your subject – as it is very much Williamson’s – the energy of those two gigs in Nottingham were the product of that long struggle plus the sharpening of tools that has come from playing more gigs, getting the records out and heard – the purpose that comes with a sense that someone out there, after all the hard slog, is listening. The attention won by Austerity Dogs in 2012 has been consolidated in spades with this year’s Divide & Exit, both records full of on-point take-downs of three decades of political and pop-cultural bullshit. Songs like Tiswas and Jobseeker will make this clear to anyone who isn’t too invested in the present mess to acknowledge it.

Datblygu

One of the joys of witnessing Sleaford Mods in a packed small venue, in front of a home crowd, and not once but twice, was being reminded of other things I hadn’t thought about for awhile. The Welsh language post-punk of Datblygu came to mind, and if you haven’t heard Datblygu before, their 1988 masterpiece Gwlad Ar Fy Nghefn (‘Land On My Back’) is a good starting point, well worth a listen almost 30 years on from the band’s inception in Cardigan. Even if you don’t speak Welsh, the message will communicate itself loud and clear, much, I suppose, as some in the US and Germany struggle with following Williamson’s East Midlands streams of consciousness and UK specific references, even as they respond to the sheer force of what he and Fearn are doing. Looking up Datblygu last month I was pleased to discover that their mid-nineties vanishing act appears to have ended: an interview by Sarah King with core members David R Edwards and Patricia Morgan covers the band’s history, while a new documentary (in Welsh, but with English subtitles) emerged in 2012.

Datblygu

If the attitude and way with words of Sleaford Mods appeals, then there will be much to delight you in Datblygu’s extensive back catalogue and uncompromising stance, not least David R Edwards’ thoughts on being considered a poet. As King notes, “when I ask him if he sees himself as a poet the answer is an emphatic No. I fucking hate poets.’’ His full elaboration on the theme strikes a definite chord:

‘The Welsh national anthem says land of poets and singers. Well I’m neither. I’m not willing to put myself in one camp or the other. I like poems, I just don’t like the label poet…Creative Writing courses just keep the stupid universities open, making themselves and their professors rich and their students poor. Personally I write by observing the world, and by thinking aloud my own thoughts, via a pen, on to a piece of paper. This then reaches the recording studio which is simply a modern cave for modern cave people. I draw on the walls using modern technology. The music Datblygu create then makes a connection with other people. Large amounts of tobacco, and small amounts of alcohol, help oil the creative machinery. If I was gainfully employed, married with a mortgage, car and children, I probably wouldn’t be a writer. But I would rather be a writer than have any of that…’ It’s good to have them back.

Sarah Curtis (Snub TV, 1989)

Hearing Sleaford Mods run through Tied Up In Nottz brought another sound I’d not thought about for years back into focus, this time triggered by the loose resemblance between Fearn’s bassline and the one used on Manchester based King Of The Slums’ Vicious British Boyfriend (1989). Any resemblance is probably coincidental – it’s a pretty standard post-punk bassline, after all – and KOTS’s distinctive feature was always, anyway, the play between the distorted viola of Sarah Curtis and the tabloid-skewering lyrics of Charley Keigher. Like many late eighties bands, their recorded output is often patchy, the production doing their live impact a disservice, but there are tracks that still hint at what they were capable of. Bear With Me ventures into a strange territory somewhere between abrasive psychedelia, hypnotic rave and blunt realism: “Bear with me,/my best is yet to come,/and I am a liar/with a lot of material…/la, la, la…I got loads/la, la, la…I got loads”, sings Keigher, over and over, while Curtis merges the spirit of the Velvet Underground’s Black Angel’s Death Song with a feeling of having lived through one lost decade, just as another throws its shadow over the near horizon.

King Of The Slums (Early 90s)

How that next decade turned out has been the subject of predictably anodyne media reminiscences, a fake nostalgia neatly deflated in Sleaford Mods’ A Little Ditty, but it’s worth remembering that much has already been half lost to that reductive Britpop story of 90s UK music. Next year marks the 20th anniversary of Tricky’s 1995 debut LP Maxinquaye, a record that managed the peculiar feat of being sufficiently avant-garde to feel like something we’re still trying to catch up with (if you doubt this, watch the video he and Martina Topley-Bird made to accompany Hell Is Round the Corner and consider how far ahead of the curve it looks and sounds even now) while also finding itself adopted as a dinner party soundtrack staple. “As I grow, I grow collective…till then you have to live with yourself”, drawls Tricky, aka Adrian Thaws, perfectly articulating the movements of a mind caught between political consciousness and outright paranoia: “We’re hungry, beware of our appetite…My brain thinks bomb-like, bomb-like”. All the while, Topley-Bird’s voice underscores the presiding mood of psychic fragility and potentially explosive threat.

Tricky - Hell Is Round The Corner (Video Still)

If Tricky’s Maxinquaye built its unsettling, alienated atmospherics from seductive harmonies, and found itself too often misread as a kind of hip easy listening as a result, Vent, the opening track on Pre-Millenium Tension (1996) made it clear that he wasn’t planning on letting that particular misunderstanding happen twice. Raw, abrasive, claustrophobic, like a panic attack in sound, Vent is an unequivocal nineties update of one of the founding statements of hip-hop, Grandmaster Flash and The Furious Five’s The Message. Its ‘don’t push me’ refrain is transformed from the socially-conscious statement of 1983 to a cog inside an internal monologue, a phrase circling a mind that’s coming apart under pressure. Just as Williamson and Fearn articulate the internal monologues of that post-crash underclass created by a fabricated (and entirely misnamed) ‘austerity’, so Tricky articulates the psychic chaos of the years that laid the foundations for this post-crash world, with its discredited institutions, corruption and increasingly dangerous demagoguery.

Tricky with Martina Topley Bird (mid-90s)

Perhaps it felt relevant to play tracks from 1970s Czechoslovakia, Hungary and Poland at those Sleaford Mods gigs in September precisely because what their music describes is life, as lived at the fag end of a discredited ideology whose adherents still cling to power despite barely believing their own words, let alone expecting anyone else to. The reigning assumptions of the 2014 political conference season must feel not unlike those imposed by Party bureaucracies in the former Eastern Bloc: badly scripted rituals, determined to miss the point at any cost. The substance of a dissident essay like Vaclav Havel’s The Power Of The Powerless seems as applicable to the here and now of the UK as it did to its original context of Czechoslovakia in the late 1970s. Meanwhile, as all this plays itself out, we will be subject to increasing quantities of bullshit to defer the inevitable reckoning. Luckily, wherever there is bullshit there are antidotes to bullshit, ready to be heard if we only care enough to seek them out and listen.

Footnote: Jason Williamson played Arthur Seaton in a voice-over recorded for James Walker’s Slap and Sickle, a film essay about Alan Sillitoe’s links to Russian dissidents in the 1970s, screened as part of a link up between Nottingham Writers’ Studio and English PEN, designed to promote the national Catechism campaign on behalf of Pussy Riot on November 12 2012.