04 MAR 2014 (Ter), 20h30
Lançamento de edição discográfica 8MM
http://www.8mmrecs.com/
"Regler" (LP) de REGLER (Anders "Drajan" Bryngelsson e Mattin),
com a presença de Mattin
Sismógrafo, Praça dos Poveiros, 56, 1.º andar, Porto

Welcome to the ground zero of music. Regler is the new, unbelievable project from Anders "Drajan" Bryngelsson (Brainbombs, No Balls)  and Mattin (Billy Bao, Josetxo Grieta) . Dancing on the ashes of a whole cultural breakdown, they bring us to a non returning point, where the dead body of rock first explodes, then implodes upon itself. There is no joke, people: this is the punkest record ever made! Mastered by Rashad Becker. Edition of 200 copies." (label info)






EVACUATION OF THE VOICE
from 06 MAR 2014 to 10 MAR 2014
http://www.serralves.pt/en/activities/evacuation-of-the-voice/

Fundação de Serralves
Rua D. João de Castro, 210
4150-417 Porto Portugal



06 MAR, 22h00
1 - Introduction to Subjective Depersonalization of the Voice

07 MAR, 22h00
2 - Evacuating Self-Representation

08 MAR, 18h30
3 - Non-significance Speech

09 MAR, 18h30
4 - Mechanisms of Human Voice

10 MAR, 22h00
5 - Evacuation of Gender


EVACUATION OF THE VOICE
from 06 MAR 2014 to 10 MAR 2014
06 MAR, 22h00
1 - Introduction to Subjective Depersonalization of the Voice

07 MAR, 22h00
2 - Evacuating Self-Representation

08 MAR, 18h30
3 - Non-significance Speech

09 MAR, 18h30
4 - Mechanisms of Human Voice

10 MAR, 22h00
5 - Evacuation of Gender
- See more at: http://www.serralves.pt/en/activities/evacuation-of-the-voice/#sthash.cC9dO9U2.dpuf
EVACUATION OF THE VOICE
from 06 MAR 2014 to 10 MAR 2014
06 MAR, 22h00
1 - Introduction to Subjective Depersonalization of the Voice

07 MAR, 22h00
2 - Evacuating Self-Representation

08 MAR, 18h30
3 - Non-significance Speech

09 MAR, 18h30
4 - Mechanisms of Human Voice

10 MAR, 22h00
5 - Evacuation of Gender
- See more at: http://www.serralves.pt/en/activities/evacuation-of-the-voice/#sthash.cC9dO9U2.dpuf
Capitalism provides the face as a visual representation of the “I”  and 
“One cannot dismantle the face without also evacuating the voice."*


Under the conditions of real subsumption that prevail in contemporary capitalism, which demand from us different forms of hypersubjectivation, we will investigate the possibility of performatively evacuating the voice from our body. 

During ten one-hour sessions, we will seek to evacuate our voice from an specific viewpoint: improvisation and thought will be linked together in order to investigate not only how our voice is produced, but also how we are produced by it. We will examine ourselves in order to try to understand how are we determined biologically, psycologically and culturally.

We will contemplate the sound produced in this experiment as a non-autopositional noise:
a noise that abjures generic aesthetic idioms, but without being reflexive or entirely discursive.
We will see this evacuation of the voice as an attempt at a process of subjective depersonalization” where “we” will be become digital registration for future possible analysis through the recording of these sessions. We will start by trying to understand how we are constituted as subjects in this context followed by the attempt to generate a distantiation from our thoughts. "We" becomes a material for experimentation. 

By doing this we will force a defamiliarized perspective of our thinking, 
not only as inseparable activity of the correlation between reality and our mind, 
but also in direct connection with the proposed structures of each session
This distantiation will allow us to understand our psychological, physiological and neurobiological conditions from an outsider's pespective: thinking from a physical body connected through our nervous system to physical reality, but maintaining the gap between 
concepts and objects.

After the sessions we will share this process through publication containing the recordings and texts, and exploring further the aftermath of this evacuation. Listeners and readers will have the chance to examine the results.


* Robin Mackay (2011) on Nick Land´s KatasoniX in the indroduction to his Fanged Noumena: Collected Writings 1987-2007, Falmouth: Urbanomic. p. 41.


Execution by Mattin and Miguel Prado


07 MAR (SEX), 15H30: Mattin e Miguel Prado na Aula Magna da FBAUP

Uma apresentação na Faculdade de Belas Artes da Universidade do Porto pelos artistas Mattin e Miguel Prado sobre o seu percurso artístico e o seu projeto Evacuação da Voz.
Entrada livre.





MATTIN - SONGBOOK 5

Release Date: March 2014

Label: Disembraining

Catalogue – What Is Not Music #1




www.disembraining.com


In May 2013, Disembraining invited Mattin to Australia to conceive a series of works addressing the question ‘What is not music?’ The question refers respectfully to the long-running Australian experimental festival ‘What is Music?’ reframing it as negation in order to investigate -What sounds remain impossible to assimilate? What isn’t music?


Mattin responded by creating the 5th edition of his songbook series: an ongoing work that uses “improvisation as a way or exposing structural clichés in pop/rock music” and “song structures to demystify the so-called spontaneity and freedom of improvisation.”

Songbook 5 was created according to a strict set of conditions generated through an obsessively literal reiteration of the number 5. Yet it is clearly a ‘rock’ record in sound and feeling. As such it may be the most structurally determined ‘’rock’ album ever. An album that holds a mirror to rock’s ‘freedom’, celebrating its own mediation.


Songbook 5 features contributions from Joel Stern and Alex Cuffe (of Sky Needle), Andrew McLellan (of Cured Pink) and the legendary NZ guitarist Dean Roberts (Thela, White Winged Moth, Autistic Daughters).


7-8 May 2013, Melbourne, Australia.


1: 5 musicians record 5 improvised songs of 5 minutes each addressing 5 concepts described in 5x5 word titles


What Isn’t Music After Cage? - Aware Of Its Own Mediation - Stuck In Our Own Trap - Alienation As An Enabling Condition - The Act Acting On Itself


2: Mattin performs a 25 minute concert with 5x5 minute sections structured by 5 instructions based on the song titles given to 5 members of the audience.


3: Mattin records vocals for the 5 songs in the form of a singing lecture at the Victorian College of the Arts. The audience only hears Mattin’s voice (he listens to the backing tracks on headphones).


4: Recordings of parts 1, 2 and 3 are superimposed to create a 25 minute album consisting of 5x5 minute songs.


5: Record released in an edition of 555 copies.


Distribution:

USA – Little Big Chief - brock.kappers [at] gmail [dot] com

Europe – mattin [at] mattin [dot] org

Australia – Disembraining – joel [at] otherfilm [dot] org



TIP OF THE TONGUE 02 MARCH 2014 VOLCANIC TONGUE (Glasgow)

http://www.volcanictongue.com/tips

Stunning new album of deconstructed/overloaded avant rock wildmanisms dedicated to the memory of Lou Reed and Carlos Artiach: Songbook #5 was created in five parts between 7th-8th May 2013 in Melbourne. Part one involved five musicians – Mattin, Joel Stern of Sky Needle, Dean Roberts of Thela/White Winged Moth et al, Alex Cuffe and Andrew McLellan of Greg Boring and Bitter Defeat – who recorded five spontaneous ‘songs’ each in response to five different concepts. Part two consisted of a 25 minute concert in five minute sections structured by five instructions based on the song titles given to members of the audience. Part three saw Mattin recording vocals for the five songs in the form of a ‘singing’ lecture where the audience only heard his vocals as he listened to the backing track on headphones. Part four consisted of superimposing recordings of parts one, two and three to create a 25 minute album consisting of five x five minute songs while part five is the release of the album proper in an edition of 555 copies. This is one of the most rocking and crankily DIY releases from Mattin to date. His vocals orbit the whole shackles-raising school of a Genesis P-Orridge or John Lydon circa PiL while the band come over like a post-Industrial fourth world folk punk orchestra, with ripping fuzz leads, stumpy Moondog-style rhythms, all-out psych/rock blare and moments of weird stunted dialogue that come over like Peter Christopherson’s use of suspect tapes. Can’t think of anyone who combines such a degree of formal rigour w/creative binds and yet who makes rock music that sounds so great that it more than transcends its critical genesis. Another killer from Mattin and the cream of the Oz/NZ underground, highly recommended!







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