Photo 16 Oct 53 notes christiannightmares:

What to make of bizarro Christian noise artist Clang Quartet
It’s not easy to shock and surprise a room full of seen-it-all hipsters at an avant garde performance/art space in Bushwick, Brooklyn in the year 2014. It’s harder still to make Christianity seem subversive. But Clang Quartet managed to achieve both at Silent Barn this past Saturday night (October 11th).
The solo project of North Carolina native Scotty Irving, who easily has the manic energy of four men, Clang Quartet’s improvisational performance is “based metaphorically on [Irving’s] life as a follower of Jesus Christ,” according to his record label. Part Passion Play, part pantomimed tent revival meeting, Irving exorcises his demons onstage through screeching, droning electronic outbursts, spastic but rhythmic drumming, and visual images that are as kitschy and cartoonish as they are creepy and arresting.
Clang Quartet’s stage set and costumes seem comprised from the remains of a trailer park ravaged by a twister: Masks and body armor made of plastic pool tubing, broken pinwheels and kids’ toys, an old crutch, bits of rusted metal, outdated Christmas ornaments, brightly coloreds tags and labels, and so much more it’s hard to catch it all. And Irving seems as shaped by Stryper, Chick tracts, and Vacation Bible School as he is by horror movies and 1980s WWF.
Irving is an open scrapbook onstage, and his performance plays out like a collage of deep-seeded memories and subconscious struggles resurrected. He also seems 100% sincere in his convictions and his show is completely free of irony. And what keeps him from being a Christian nightmare is the fact that he doesn’t shove his beliefs down anyone’s throat. There’s no verbal proselytizing, no, “You’re going to need to make the most important decision of your lives tonight, folks!” or, “Come up and talk to me after the show if you want to learn about the coolest guy that ever lived, Jesus Christ.” At the end of his performance, he simply turns his cardboard cross around to reveal a message of redemption—and it seems to have worked for him.
To watch a short documentary about Clang Quartet from 2001, click here.

christiannightmares:

What to make of bizarro Christian noise artist Clang Quartet

It’s not easy to shock and surprise a room full of seen-it-all hipsters at an avant garde performance/art space in Bushwick, Brooklyn in the year 2014. It’s harder still to make Christianity seem subversive. But Clang Quartet managed to achieve both at Silent Barn this past Saturday night (October 11th).

The solo project of North Carolina native Scotty Irving, who easily has the manic energy of four men, Clang Quartet’s improvisational performance is “based metaphorically on [Irving’s] life as a follower of Jesus Christ,” according to his record label. Part Passion Play, part pantomimed tent revival meeting, Irving exorcises his demons onstage through screeching, droning electronic outbursts, spastic but rhythmic drumming, and visual images that are as kitschy and cartoonish as they are creepy and arresting.

Clang Quartet’s stage set and costumes seem comprised from the remains of a trailer park ravaged by a twister: Masks and body armor made of plastic pool tubing, broken pinwheels and kids’ toys, an old crutch, bits of rusted metal, outdated Christmas ornaments, brightly coloreds tags and labels, and so much more it’s hard to catch it all. And Irving seems as shaped by Stryper, Chick tracts, and Vacation Bible School as he is by horror movies and 1980s WWF.

Irving is an open scrapbook onstage, and his performance plays out like a collage of deep-seeded memories and subconscious struggles resurrected. He also seems 100% sincere in his convictions and his show is completely free of irony. And what keeps him from being a Christian nightmare is the fact that he doesn’t shove his beliefs down anyone’s throat. There’s no verbal proselytizing, no, “You’re going to need to make the most important decision of your lives tonight, folks!” or, “Come up and talk to me after the show if you want to learn about the coolest guy that ever lived, Jesus Christ.” At the end of his performance, he simply turns his cardboard cross around to reveal a message of redemption—and it seems to have worked for him.

To watch a short documentary about Clang Quartet from 2001, click here.

Video 25 Sep 17 notes

grixly:

Here’s a barbarian story Brian John Mitchell cooked up for me.

Print version coming soon to subscribers….

via GRIXLY.
Text 28 Jul 1 note Rdio, Spotify, Bandcamp, QRD, Upcoming Releases, Etc.

So as a lot of you know I have super mixed feelings about free streaming of music.  I totally understand it is awesome for the consumer.  It’s convenient & easy.  But of course it also means not a lot of income for artists.  So it’s with somewhat mixed feelings that I have been trying to push Silber a bit on Spotify & Rdio.  We’ll see what happens.  Will me mentioning it get people to play the catalog while they are falling asleep or all day at work or whatever & help to reclaim the sales numbers from five years ago before the streaming craze started?  I really don’t have a clue.  But like a lot of other things, it’s probably easier to tell people in conversation, “I tried it & it didn’t work,” than to try to explain why I think it won’t.  So we’ll see on that, for now both Spotify & Rdio have Silber playlists on our drop down link menus throughout the main site.  If someone is on the iTunes equivalent of Spotify & wants to make a Silber playlist for me to link to, let me know.

Also in my recent, “I’ll try it even though I don’t think it will work,” I put the QRD – The Guitarists comp up on Bandcamp.  I’ve avoided Bandcamp for a few reasons over the years, mainly because I had a bad experience downloading from them around the time of their original launch & I already have the Silber download shop set up & don’t see a huge benefit of directing people off site & giving someone else an extra portion of my income.  But a few people have told me they actually do use it as a discovery engine & I do know that bloggers love to embed stuff from it, so I figured I’d give it a shot.  So far it’s been a week & it’s received a hundred listens.  Which I guess is impressive?  But it hasn’t received any purchases of any of the tracks much less the whole thing.  So I’m not really convinced I should dedicate a couple of weeks to uploading the entire Silber catalog.  I feel I would be better served just waiting until the comp was up on Spotify & at least getting those tenths of a penny for play rather than the unpaid streams on Bandcamp.  Sigh.  I’m not abandoning it after a week, but I’m waiting for something good to happen.

The other big thing this year in my trying it out thing of course was the ebook stuff that is the whole reason there is the guitarist comp.  So I put up a few of my comics & I made the guitarist & bass player interview ebooks & put them up on Amazon with the hope of the ease of discovery there.  Well, they made $16.  Which I guess is great, because I really didn’t drive any traffic in that direction as I really only pushed the Kickstarter stuff for those projects anyway.  But I had hoped a few more sales would happen.  I know a few people who have had luck with ebooks & others who have had numbers even worse than mine.  So I’m not sure I should make the other ebooks from the QRD content.  It doesn’t really seem too worth it with those numbers.  But I am hopeful a bit with things on Patreon for QRD slowly turning things around there.

Speaking of QRD, I have a new issue that I finished the initial proofs of the interviews for.  So about four or five hours of work to finish it up, but I’m going to wait until I have some other things ready to go so that when I send the Silber newsletter out it’s fairly impressive.

So here’s my question to you folks that are still reading this entry.  The next release we have coming is the Macedonian drone music compilation, but I’m looking for input on ranking of the importance/order I should do the following, below is the proposal given that nothing goes wrong & a bunch of you aren’t telling me to speed up one thing or another:various artists – across the mountains Macedonian ambient music compilation
Thorn1 – The Light of Random Star
If Thousands re-issues Candace Recorder & IO
Rllrbll re-issues Bathing Music & Long Walk for Ice Cream
Electric Bird Noise re-issue Unleashing the Inner Robot & Soundtrack for the Motion Picture The Pace
Halcyon Chamber – Halcyon Chamber EP
5 in 5 series relaunch (Goddakk, Parties, Lost Trail, Black Wedding, PD Wilder, Matteo Preabianca, Remora, Small Life Form)
Andrew Weathers – What Does the Scanner See?
Space Sweeper – “title to be determined”
Remora – “title to be determined” (live full band recording)
various artists – Cheerleading/Noise compilation
Yellow6 – “title to be determined”
Chvad SB – Phenomenalism, Cartesian Doubt, & Bomb #20

Video 25 Jul 1 note

Finally a new Small Life Form piece.  The first of 2014.  The visuals are made from my Captain America t-shirts.

Photo 13 Jul 9 notes joebadon:

Marilyn Monroe Animated GIF

from my friend & collaborator Joe Badon.

joebadon:

Marilyn Monroe Animated GIF

from my friend & collaborator Joe Badon.

via Joe Badon.
Link 28 Jun 4 notes Zlata Sandor | Shaun Sandor: Band on the Moon»

In case you haven’t heard it before.

Photo 18 Jun 1 note immediacyzine:

Chvad SB - Crickets Were the Compass
Silber
@Chvad / @SilberSpy

Though complicated in name, Chvad SB’s Crickets Were the Compass is even moreso in delivery, which is why it’s a long term reward (as is learning the name).
Crickets Were the Compass is both the darkest metal and drone, and though it doesn’t rely too heavily on either, the elements are still present enough to label it both so fans of the genres are keen to find it.
In reality, Crickets Were the Compass is far more rudimentary in its presentation though not in composition. Chvad is more akin to Loren Connors or Alan Licht, using the dark space of silence and anticipation to guide his thought projects. The meatiest of this ruminations occur in the middle of the album: “The Dust Cloud Permeates” and “People Keep Asking and I Say You’re Well.”
Both are haunting enough in title to project one’s own experiences but “The Dust Cloud Permeates” is a particular, airy piece that mimics specs floating in a beam of sunlight only to be broken by shade. “People Keep Asking” is heart-wrenching as the aggressive static of doubt battles with sharp tinges of hope.
It’s a lonely world out there. Having Chvad SB providing a soundtrack makes it a little less so.

immediacyzine:

Chvad SB - Crickets Were the Compass

Silber

@Chvad / @SilberSpy

Though complicated in name, Chvad SB’s Crickets Were the Compass is even moreso in delivery, which is why it’s a long term reward (as is learning the name).

Crickets Were the Compass is both the darkest metal and drone, and though it doesn’t rely too heavily on either, the elements are still present enough to label it both so fans of the genres are keen to find it.

In reality, Crickets Were the Compass is far more rudimentary in its presentation though not in composition. Chvad is more akin to Loren Connors or Alan Licht, using the dark space of silence and anticipation to guide his thought projects. The meatiest of this ruminations occur in the middle of the album: “The Dust Cloud Permeates” and “People Keep Asking and I Say You’re Well.”

Both are haunting enough in title to project one’s own experiences but “The Dust Cloud Permeates” is a particular, airy piece that mimics specs floating in a beam of sunlight only to be broken by shade. “People Keep Asking” is heart-wrenching as the aggressive static of doubt battles with sharp tinges of hope.

It’s a lonely world out there. Having Chvad SB providing a soundtrack makes it a little less so.

via IMMEDIACY.
Photo 10 Jun 2 notes babysue:

#199.

because sometimes this is how we all feel.

babysue:

#199.

because sometimes this is how we all feel.

via babysue.
Photo 21 May 4 notes Found this weird plague doctor kitchen witch at Jason Young’s house….

Found this weird plague doctor kitchen witch at Jason Young’s house….

Photo 9 Apr 3 notes beachsloth:

Rllrbll – 4 Corners 7.3
                ‘4 Corners’ is steady as she goes. Rllrbll uses the steady rhythm to counterbalance the otherwise unbalanced nature of the album. At any moment the songs threaten to descend into pure chaos. It is thanks to Rllrbll’s incredible skill that they do not. Opting to flirt around a complete and total breakdown they are highly enjoyable pieces of work. Noise gets much needed attention during the album providing some of the best moments. Similar to Electrane’s work with a completely perfect marriage of rock and electronics, it creates sense of unease with and without vocals. 
                ‘Robin with a cheeto’ sounds like a carousel theme gone very wrong. To mix things up the song breaks down into outright noise before straightening itself up into perfect melody once more. Rllrbll appears to be knocking the song down only to pick them back up as soon as it is bored. ‘Meximelt’ goes for a more casual approach. Vocals are straightforward. Synthesizers add to the overall lounge mood. A muscular approach defines ‘Cyclops’ which is the most physical song on the entire album. The repetition adds to the overall enjoyment. 
                By the end of the album the rock influences make their presence felt. ‘Mockingbird in Gazza’ takes a straightforward, slightly skeletal approach before erupting into complete madness. ‘Windy as fuck’ ends the album off on a relatively jazzy note, with a nice smoky atmosphere. Rllrbll takes its many influences and effortlessly merges them into a coherent compelling album.

beachsloth:

Rllrbll – 4 Corners 7.3

                ‘4 Corners’ is steady as she goes. Rllrbll uses the steady rhythm to counterbalance the otherwise unbalanced nature of the album. At any moment the songs threaten to descend into pure chaos. It is thanks to Rllrbll’s incredible skill that they do not. Opting to flirt around a complete and total breakdown they are highly enjoyable pieces of work. Noise gets much needed attention during the album providing some of the best moments. Similar to Electrane’s work with a completely perfect marriage of rock and electronics, it creates sense of unease with and without vocals. 

                ‘Robin with a cheeto’ sounds like a carousel theme gone very wrong. To mix things up the song breaks down into outright noise before straightening itself up into perfect melody once more. Rllrbll appears to be knocking the song down only to pick them back up as soon as it is bored. ‘Meximelt’ goes for a more casual approach. Vocals are straightforward. Synthesizers add to the overall lounge mood. A muscular approach defines ‘Cyclops’ which is the most physical song on the entire album. The repetition adds to the overall enjoyment. 

                By the end of the album the rock influences make their presence felt. ‘Mockingbird in Gazza’ takes a straightforward, slightly skeletal approach before erupting into complete madness. ‘Windy as fuck’ ends the album off on a relatively jazzy note, with a nice smoky atmosphere. Rllrbll takes its many influences and effortlessly merges them into a coherent compelling album.


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