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NEW RELEASES SPECULATIVISM JASON KAVANAGH RES BAND THE ACOUSMATICS DUB DK FYDHWS BC_RANGER THE BLASTED MUFFINS TURBOGRIND TERRORIZERS FEA HOX VOX TR채DG책RDSTOMTARN AIRLESS PROJECT

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APSKAFT RELEASES CHINESE WHISPERS First participant made a track, then sent it to the next one, who made an interpretation of it and sent the result to the next one...

APSKAFT CLASSICS Awaycaboose - tHE bOY wITH tHE tHREEFOLD mIND by fydwhs

MONKEY TALES THE INFINITE SURFACE by Peter-David Smith

NETLABELS SIKO RECORDS

INTERVIEWS JONAS LIND Founder of The Sound of Apskaft

MONKEY COMIX APINAN RAVIOLIA by Tuomas K채rkk채inen MIND BODY SOUL COMICS by Peter-David Smith


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3. LETTERS TO LISTENERS by Jonas Lind * Hox 5. APSKAFT RECORDS APSKAFT PRESENTS: CHINESE WHISPERS by Hox 7. NEW RELEASES This month: SPECULATIVISM * JASON KAVANAGH * RES BAND * THE ACOUSMATICS DUB DK * FYDHWS * BC_RANGER * THE BLASTED MUFFINS * AIRLESS PROJECT TURBOGRIND TERRORIZERS * FEA * HOX VOX * TRäDGåRDSTOMTARN 11. NETLABELS SIKO RECORDS by Tuomas Kärkkäinen 15. INTERVIEWS JONAS LIND: founder of apskaft by Hox 19. APSKAFT CLASSICS Awaycaboose - tHE bOY wITH tHE tHREEFOLD mIND by fydhws 21. MONKEY TALES THE INFINITE SURFACE by Peter-David Smith 23.

MONKEY COMIX

APINAN RAVIOLIA by Tuomas Kärkkäinen MIND BODY SOUL COMICS by Peter-David Smith


APSKAFTERS LETTERS TO LISTENERS

There comes a time in every person’s life when you have to ask yourself: what is Apskaft? This is a perfectly valid question. If you are a Swede, “apskaft” will be a mild insult, like knucklehead or nincompoop, but if you are British, Italian, Samoan or from any other country in the world, the word itself will probably mean nothing to you. Yet, there it is, and it seems to have some sort of significance. Otherwise, why would there be a magazine like this? Apskaft could be likened to The Blob: a small undescribable entity that came from God knows where and rapidly grew to frightening dimensions. That wouldn’t be totally accurate though, since Apskaft - at least to my knowledge - has not been known to consume people in its vicinity. Instead of consuming, it creates. Apskaft started out as a tiny user group on last.fm, intended as a discussion forum for a handfull of people, but it quickly changed into a growing collective of DIY musicians and sound artists, a breeding ground for ideas. It has no shape, no plan, no agenda. It has a leader, but this leader acts more like an overall organizer than a general or a president. The actions of the group is always the result of collective ideas, driven by disparate musical interests among the group members. And there are no limits, ideawise. Anything goes. Consider this both an invitation and a warning. And above all: have fun reading and listening! Jonas Lind

APSKAFTER first issue happens right 4 years after The Sound of Apskaft foundation by Jonas Lind. In these years Apskaft released 18 records (Musique Concrète collective, the nineteenth, is on the go); a restoration of Sergei Eisenstein’s Battleship Potemkin with a whole soundtrack; a couple of original movies, The World of Apskaft and Apskaft documentary, both work in progress. We created also support for our projects, with our Youtube channel SOUNDOFAPSKAFT; and our blog THESOUNDOFAPSKAFT.BLOG.COM; and we set up a couple of repository where listen, watch and download Apskaft products on BANDCAMP and INTERNET ARCHIVE. APSKAFTERS is not only a tool to showcase and promote artists from Apskaft collective, but a sort of encyclopedia of this whole project as well, through interview and special rubrics such Apskaft Classics. Magazine will speak about this, but being Apskaft populated by unstoppable creative people, we will also feed literature and comix, opinions about niche facts and even articles about whatever is worth of attention in present day. I hope it will go beyond its obvious role of Apskaft activity megaphone and become interesting even for people who are not into avant-rock and experimental music, but - using a hackneyed cliché - only time will tell. Well... I wish you a pleasant lecture! Hox

APSKAFTERS 3 01 - DEC 2011


APSKAFTERS THE SOUND OFAPSKAFT NEW RELEASES: CHINESE WHISPERS by Hox RECORD FACTS

Apskaft Presents: Chinese Whispers is the 18th release by The Sound of Apskaft. This project started from an idea by SimiArbeit. On february 17, 2011 he wrote on Apskaft forum: First participant makes a track, then sends it to the next one who makes an interpretation of it and sends the result to the next one who makes an interpretation of the interpretation. Hilarity ensues. After a brief discussion we decided I’d have to make first and last whisper.s I accepted with pride and sent starting track on february 20. I received 13th whisper from Jomahoz and made last track on september 19. Total lenght, about 6 months.

APSKAFT PRESENTS: CHINESE WHISPERS

RECORD STRUCTURE

Project started in: . . . . . . . . . . . . . . . . . february 17, 2011 Opening track by me, Hox Vox, is a rock in opposition metts Ennio Morricone stuff.It’s quite tight to classic pop structure, so I supRelease: . . . . . . . . . . . . . . . . . . . . . . september 20, 2011 posed easy to dissect and reconstruct. Number of tracks: . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Drn Drn made second track keeping tight to former (even dissonances) but threw away any symphonic layer sustituting orchesTotal lenght of record: . . . . . . . . . . . . . . . . . . . . . . 35:14 tra with a Manzarek sounding keyboards and went straight for a post-rock/psychedelic environment. Bands involved: Hox Vox, Drn Drn, Speculativism, A.K.A. Lurholm, Agnostic Asylum, Mexicanvader, Ditzky, Res Band, Cruising the Speculativism steers (almost a U-turn) keeping only last part of Volga, Travis Johnson, The Anchorities, Gondowanland School of closing passage through a classical guitar arpeggio and changing tones while keeping a noisy background made of distorted speech Subcutaneous Noise Infraction, Toffeljagarn. APSKAFTERS 4 01 - DEC 2011


APSKAFTERS THE SOUND OFAPSKAFT NEW RELEASES: CHINESE WHISPERS by Hox

(similar to the ones by Ozric Tentacles), scretchy low guitars on further Cruising the Volga’s concept, and creates a wider ambient, chirpy high pitch ones. It’s like an enormous echo for Drn Drn track. with ominous echoes of monsters / ghosts whispers. A.K.A. Lurholm catches the loopy re-work by Speculativism and The Anchorities seems on first seconds to follow former twho turns it into a reggae delicate passage, with a white reggae speech whispers, but it’s moer a cabaret scene played in a cave, with some tiny dinosaurs screaming in some hole. A classical guitar enters, above. dissolve any noise and close the track with a melancholy note. Agnostic Asylum explodes the concept further with a juxtaposition between vocals (reminded me of Beethoven electronic covers in Gondowanland School of Subcutaneous Noise Infraction works Orange Clockwork), drums / distorted guitars and a Pere Ubian on a mouthorgan followed by an atonal radio speech and a slow breakbeat drum loop pumping all up. A delicate carillon closes clarinet (well, all the track is quite Cleveland 77 sounding). unexpectedly the track. Mexicanvader quit the dark atmospheres and creates a vaguely fade to gray - ish sounding solid electro anthem. It’s like a jump back Toffelijagarn put back things in rock/pop area, with a suffered, lo-fi, delicate post-rock song, with a hook that starts like a clasin the eighties with present day tools. sical americana, but slipping to a more northern europe melody, Ditzky goes back to noisy/industrial/minimal electronics. His with a strange juxtaposition. a mouthorgan at the end adds even track is syncopated, harsh, dirty, relentless. At this point nothing more american taste, but everything fall in a noise delirium at remained of first whisper. the end of track. Res Band opens with a thundering bass and a small minimal keyboard above, and from here it’s a crescendo à la jam band til the end, adding progressively layers on layers, and expoding in a rapid fade of running away instruments.

My (ending) track starts from the point left by Toffelijagarn closing and then develope their hook in a hard techn fashion, for half track. After a while I went for a brake and faded to a first track reprise, to close the circle.

Cruising the Volga creates a suspension in a gas chamber where Record is solid. Despite quite anarchic (it couldn’t be anything else, as it’s an Apskaft standard) every song is short but very got sounds are liquid and float around the listeners. a strong personality, and there are no weak moments, tension Travis Johnson jump straight to non music / ambient / field, expand remain high from first to last note. APSKAFTERS 5 01 - DEC 2011


APSKAFTERS APSKAFTERS RECORDS NEW RELEASES

SPECULATIVISM - AN ALTERNATIVE STEAM AGE Speculativist explores the realms of time travel, steampunk, alternate timelines, weirdstep, dubstep and futuristic victoriana. This album is under a Creative Commons 3.0 Attribution - Non-Commercial - No Derivatives licence except for Track Six “The Mock Turtle’s Song (remix of Cory Doctorow)” which is Creative Commons - Attribution only because that was the licence on the Cory Doctorow sample.

MARQUADT/KAVANAGH - DESDEMONA/after every tempest come such calms (ITSU JITSU) DESDEMONA by Sean Derrick Cooper Marquardt: “Wherein I spoke of most disastrous chances, Of moving accidents by flood and field” [William Shakespeare] after every tempest come such calms by Jason Kavanagh: “If after every tempest come such calms, May the winds blow till they have waken’d death!” [William Shakespeare]. Tags: abstractionism, improvisation, tape accidents, feedback, experimental, analogue.

RES BAND - ... AND FINALLY (part 1) Here are a couple of albums recorded in the tried and tested method of chance.

...and Finally being recorded over a couple of days during summer 2011 ...

RES BAND - SWAP ...and Swap being a random mix of songs from the past 5 years. Do This, Do That, Do Something Else. Tags: jam band, experimental, jazz, blues, improvisational, rock.

APSKAFTERS 6 01 - DEC 2011


APSKAFTERS APSKAFTERS RECORDS NEW RELEASES

DUB DK - ANTI FASCIST ROCK (HOME COOKING) The new single from DIY dub reggae project Dub DK, heavily inspired by Jamaican 1970’s dub, and featuring samples of a laughing Burning Spear as well as words of wisdom from the late Joseph Hill of Culture. The title track also appears on “Apskaft Against Fascism”.

SPECULATIVISM - Songs Wot I Actually Wrote This collection includes previously unreleased versions of Space lizards and Old Old Science Fiction.

TURBOGRIND TERRORIZERS - THE ALBUM (ITSU BITSU) First album by the political cybergrind band after two singles (here included). About 45 minutes of relentless aural attack through industrial, grindcore, death metal, absurd noises, crazy loops ranging (mostly) from 180 to 600 pbm, with few weird respites right when your ears are melting. Tags: avant-grind, avant-grindcore, avantgarde, avantprog, contemporary, cybergrind, electronics, glitch, industrial, grindcore, rock in opposition, slowcore.

fydhws / bc_ranger / Gravity’s End Split Side of fydhws (from Macedonia) can be described as an instance of instrumental rock music made up through the methodology based on sound art/sound modulation. On the other side, bc_ ranger (from Ukraine) and Gravity’s End (from Germany) play up more established yet excellent riff based epic rock sound borrowing from the realms of metal, musique concrète, and spoken word. However, all of those rich textures and majestic vibes are fulfilled with lots of good memories and endless melancholy.

APSKAFTERS 7 01 - DEC 2011


APSKAFTERS APSKAFTERS RECORDS NEW RELEASES

THE BLASTED MUFFINS - GODSPEED YOU, CHOCOLATE ALBINO! (ITSU BITSU) Hox proposed the idea, G.S.S.N.I. seconded it and in a whirlwind of track, video and artwork making Godspeed You, Chocolate Albino! was born! Behold and hold onto your tats, cats and Snooterous Hatsnacks for this may be the first but certainly won’t be the last work by The Blasted Muffins. All odd tracks by Gondowanland School of Subcutaneous Noise Infraction All even tracks by Hox Vox

FEA - CROMM CRUAICH (UTINI RECORDS) Tags: diy, ambient, apskaft, avant garde, drone, droning, experimental, home recording, homemade, lo-fi, loop, underground, Ireland.

Trädgårdstomtarna - I bröd och ost (Gardinslynan) I bröd och ost (eng: In bread and cheese) is the third album from the diy/progg band Trädgårdstomtarna and contains humourously surreal and just plain weird lyrics, utensils and cushions as percussion, and a bunch of nonsense and tomfoolery.

The Acousmatics - The Acousmatics vs. Apskaft (HOME COOKING) On the second release from plunderphonics project The Acousmatics, they have a go at songs by some of their fellow Apskaft artists: cutting, disecting, and extrapolating the songs, forming more or less distorted homages to the originals, and to the spirit of Apskaft itself.

APSKAFTERS 8 01 - DEC 2011


APSKAFTERS APSKAFTERS RECORDS NEW RELEASES

SPECULATIVISM - The Labyrinth Within the Maze Within the Labyrinth Emerging from my weirdness laboratory I’ve devised two albums in April. The first one is called “The Labyrinth Within the Maze Within the Labyrinth” and is a collection of semi musical workings of strange ideas and visions. There are a few recurring themes from previous albums, reworked in new ways, and lots of entirely new tracks. The second album for April is coming soon and will be an archive of experiments I did recently with recorded spoken words and musical scales.

HOX VOX - IL CAVALLO SPAIATO Il Cavallo Spaiato is about schizophrenia, music is quite lunatic and moves continuously from avant-prog to glitch/jungle/hardtek, like two clashing identities in same body. Song Flipback is inspired by italian showgirl (and icon) Raffaella Carrà and her far above-the-mainstream songs, particularly “Ma Che Musica Maestro”. Of course results are less commercial. There’s also a bebop/avant rework on Jeux d’Eau by Maurice Ravel.

SPECULATIVISM - BEYOND THE RADIO WAVES FROM THE EARTH This album is an archive of sound experiments I did recently. I don’t expect anybody to sit and listen all the way through this album. There’s too much of it. This is more of an archive to dip into occasionally. There’s lots of interesting stuff happening in these experiments.

FYDHWS / AIRLESS PROJECT - SPLIT Psychedelic lo-fi space rock tracks from these two Macedonian artsts. aiRless pRoject is back to his roots, guitar explorations with frenzy touch. Fydhws is taking journey in his Noise For Blues for Noise fields.

APSKAFTERS 9 01 - DEC 2011


APSKAFTERS NETLABELS SIKO RECORDS by Tuomas Kärkkäinen

I rushed home, pushed play and realized instantly why he was so excited. No, the music was not actually very good, not in the traditional sense. They could not play their instruments. They did not have songs, they simply fooled around. The sound quality was so poor that one could not hear certain parts at all. They had recorded their material on a cassette that Siko Records was founded in the late 2001 to publish the first Reader’s Digest had sent them as a advertising gimmick, and EP by The Organdicks. Sikology, though, is not a child of 2001. at times one could hear the original selling speech through It has been around as some kind of a blurry concept for at the music. least fifteen years. This opened my eyes.

I met Holgeir back in 1997 long before there was even a sound created by The Organdicks. From the very beginning we shared similar ideas about music and art in general. It must have been around the turn of the new millennium or a little bit before that Holgeir brought me a cassette he had recorded with his sister. There was no information on the case (actually, there was no case at all), Holgeir had just scribbled “The Organics” on the cassette. He seemed to be very excited by this recording and told me to listen to it immediately. APSKAFTERS 10 01 - DEC 2011


APSKAFTERS NETLABELS SIKO RECORDS by Tuomas Kärkkäinen

Music did not have to be “good”, because music can be good only if it is compared to other music. Making music independently requires the musician to leave behind concepts like “good”, “likable”, or even “listenable”. This results in freedom of expression. This results also in music that is so completely removed from its own time that it might sometimes open new paths. Or it might not. That is not important. Music is. We started acting along this principle and made recordings on the spot. Everything was improvised and everything was allowed. Sadly, none of these recordings exist anymore. “The Organics” cassette was destroyed by time in a couple of years: there is nothing audible on the tape anymore. The other tapes do not exist because of the simple reason that we recorded every session over the old ones on the very same cassette. And then we lost it. In 2001, Holgeir told me he had formed a group with two young gentlemen and they had decided to call it The Organdicks. I had never met these two guys (actually I did not meet them before 2003, when I produced their debut album). All I

The Organdicks - Merry Robot 3000: Legalize Magnetism EP

knew about them was that they wanted to be referred to as D and K if anything (The Organics + d + k = The Organdicks, get it?), and that they had built a studio somewhere. Holgeir retreated to these Sonsabitch Studios, CA, with his mysterious band mates. I did not hear anything from them for the next six months or so. One day in October, the now bearded Holgeir appeared behind my door. He seemed so tired that he could not properly form sentences. And the stench, it brought water to my eyes. He gave me a cd they had recorded with The Organdicks and fell asleep on my couch. When Holgeir woke up after sleeping nearly two full days, I had listened the short recording for dozens of times. It was clear to me that this kind of music could not be kept from the

APSKAFTERS 11 01 - DEC 2011


APSKAFTERS NETLABELS SIKO RECORDS by Tuomas Kärkkäinen

Orchestra Nuovo del Apparatore-Talk Speak Fall Silent

people. We had to release this EP. It took only two or three weeks to get Siko Records up and running. The first copies of The Organdicks’ debut “Merry Robot 3000: Legalize Magnetism EP” came out in November, only a month after the recording being completed. Of course, this kind of music did not sell much, especially with absolutely no marketing at all. There were maybe nine or ten copies of the first edition sold. Each one of them was ordered first and the cover art was made only after that. These designs were completely unique and numbered. You can consider yourself lucky, if you own one of the copies from the first edition. Somehow one of these EP’s found its way to Italy where the famous – nay – notorius avantgarde artist Gianfranco Moret-

ti happened to hear it. He had been looking for a record label that was small enough and situated far away from Italy to release some of the material he had recorded in the fifties and sixties with Orchestra Nuovo del Apparatore. His aim was to publish their decades old unpublished sound art in a setting where it would cause confusion. To be honest, I had not heard of ONDA before this point, so I guess he had kind of reached his aim already at this point. Naturally, we offered to release anything by ONDA. The first tapes became the EP Talk Speak Fall Silent that was released just before the debut long play by The Organdicks, even though it is numbered siko-003. This EP proved to be an essential part of sikology. Holgeir fell in love with the track “Telltale” and especially the strange

The Organdicks - Music for Drooling Idiots with Trendy Beards

APSKAFTERS 12 01 - DEC 2011


APSKAFTERS NETLABELS SIKO RECORDS by Tuomas Kärkkäinen

and audience was so inspiring that I decided not to release my album in a context where it would be somehow in place. I wanted to follow “The Technique of Surprises”. As a part of this strategy, I have released only live material that contains a lot of errors and is not edited at all. If my album will ever be released, none of you, my dear readers, will hear about it. Since the early days of Siko Records, we’ve been following the same path and releasing music that is only music. It is not good music. It is not bad music. It is not music to be listened or appreciated. It is just music.

Simi Arbeit, Siko Records Simi Arbeit - Drones

and forward-thinking vocals that it features. This led him to start exploring all kinds of modernist and avantgardist vocal music and consequently he found his roots in Veijklandish folk music, fæstsjungst. This finding resulted in the 2004 EP “Snyt og Berøyjelser” by The Organdicks and his solo album “Sækkler auv fæstsjungst” in 2009. The piece that had a staggering effect on me was “Speak Only When You Are Spoken to.” The hypnotic repetition caught me instantly and I started to plan my own album that would consist of music in a vaguely similar vein. I never finished this album and as a matter of fact, the decision to leave it unfinished stems from the ideology of ONDA. I sought out and read their manifesto from 1956. Their approach to art APSKAFTERS 13 01 - DEC 2011

Simi Arbeit - Moans


APSKAFTERS INTERVIEWS JONAS LIND: FOUNDER OF APSKAFT by Hox

Studio 2, Sveriges Radio, Malmö.

Hi Jonas, despite it’s quite banal I must start with a clichè: can you tell us what pushed you to create The Sound of Apskaft? When you started this project did you imagine it could last so long?

people, and we had this vague and unstructured idea of making cover versions of songs we picked out for each other. Me and a couple of friends had been talking about this even before Apskaft existed, but we weren’t that serious about it. But the cover project started to happen, and I thought that since it Well, if memory serves - and I must warn you that I have a happened within this group, we may as well start a label to terrible memory - it happened shortly after Apskaft itself go with the group, where we could release this cover album. was created. There were very few of us back then, maybe 15 So I founded The Sound Of Apskaft - an obvious reference to APSKAFTERS 14 01 - DEC 2011


APSKAFTERS INTERVIEWS JONAS LIND: FOUNDER OF APSKAFT by Hox

The Sound Of Music you may think, but I actually stole the name from an album by a Swedish band called The Mopeds, “The Hills Are Alive With The Sound Of Mopeds”. That’s why it says “the hills are alive with The Sound Of Apskaft” in the logo. Anyway, I thought this would be a one-off thing, but the cover project was so much fun that we decided to make the first “Apskaft Presents” album shortly after that. And the rest, as they say, is history. So you had kind of collective approach to music since from the start? I say that because you play in many bands, push for various artists records, seems like you find yourself better if you make music with a lot of people... Yeah, there was a sense of collectiveness (if that’s even a word) from the beginning. You know, at first there were only three of us, friends from an old chat room. All of us made music under various monikers, and we created Apskaft as a forum for discussing our own personal music projects with each other. What we didn’t count on was that other DIYers would join the group - we thought no one else would be interested in what we did. We were wrong.

Sure, mate. This leads to another - more general - issue: being an unsigned band is a stigma. For instance, on wikipedia they don’t include bands without a physical release for a label. Don’t you think internet didn’t carry many advantages to outsiders, until now? Are you more optimistic for the next future? Well, I think there are two parallel musical universes here, at least in the present day where major record companies don’t dare to release music by unknown artists, and the mainstream media supports this behaviour by ignoring everything that’s not on a major label (Wikipedia’s policy is a symptom of the same thing). The outsider universe, however, is as alive and kicking today as it ever was, and I see no reason why that should ever change. The internet has of course helped a lot, but even if the www disappeared tomorrow, the outsider universe would still be there, since it is fuelled by actual passion for music, not by revenue and careerbuilding. And real passion always finds a way. Am I optimistic about the future? Yes, I think so. The major labels are crumbling now, biting the dust

I still prefer to make music on my own, or in small combos, but every one man band (and I have sooo many of them) needs an audience, needs feedback. And what better audience could you wish for than other DIYers? People who understand what it’s like to come up with songs whilst in the shower and record them in the bedroom? APSKAFTERS 15 01 - DEC 2011


APSKAFTERS INTERVIEWS JONAS LIND: FOUNDER OF APSKAFT by Hox

I don’t know... I’m not sure I would want it to. How to put this into words... well, the problem, as well as the advantage, of an actual record company is that it acts as a quality filter. Someone on the label will have to decide whether some certain music should be published or not. This is good, in a way, because it helps raising the quality of the output, but it’s bad in another way, because it risks killing a lot of the artists’ creativity. There is a delicate balance here. The beauty of Apskaft is that there is no such filter. This means that, yes, not everything that is being produced within the group would meet the standards of a physical release, but on the other hand, there are no restrictions whatsoever on the creativity and the ideas - anything goes, high or low. I definitely like this. If Apskaft was to be transformed to a “real” label, we run the risk of favouring the “high” at the expense of the “low”, and I think that would go against the spirit of Apskaft.

one by one, and when they’re all gone, perhaps a new era can begin. I’m not saying we don’t need record companies at all, but what I’d like to see is the return of the mid-sized labels you know, those who were big enough to finance studio time and physical releases, but not so big that they lost touch with the actual reason of their existance: the music. I want labels small enough to take chances based on a passionate gut feeling, but big enough to actually make the records happen. Don’t get me wrong, I love micro labels, but since none of them have Let’s speak about RIAA: they recently pushed for S.978 “Comany money, they usually only put out their releases in like 50 mercial Felony Streaming Act”. or 100 copies, and it’s almost impossible to get hold of them. To make things clear, someone said: if you create a few videoclips with your Justin Bieber covers and upload on youtube, Makes sense, as we can perceive this mid-size need also in you can go to jail for 5 years. I would have a comment from cinema: too bloated productions, aimed to please the widest you. audience so no new ideas and go on with sequels of already boring (but no risk) plots. Maybe art in a wide meaning is a I am no expert on legal mumbo-jumbo, so I will have to take your word for it. If what you say is accurate, then it’s simply little squashed by mass production. Do you think Apskaft could evolve in a small then mid-sized bizarre. Covers have always been an inevitable and valuable label, or it will always be a free forge for wild bedroom ex- part of the evolution of music. Anyone who seeks to criminalize covers doesn’t know the first thing about music. This perimentalisms? APSKAFTERS 16 01 - DEC 2011


APSKAFTERS INTERVIEWS JONAS LIND: FOUNDER OF APSKAFT by Hox

makes me want to do another Apskaft Covers Project - with videos this time! He he he, I’m in, chief! I also fell in disconcert reading that, but I believe it’s against 1st Amendment so they will dismiss it. Speaking of future projects, would you like to make another movie soundtrack? There are many ancient but great movies such Le sang d’un poète by Cocteau... ...or Un Chien Andalou by Buñuel and Dalí! Yeah, absolutely, another film score would be great. I’m sure it will happen, with the success of the first one in mind, and the unstoppable creativity in the group. I think it will be even better the second time around! High-five! I think so, we learned a lot by a series of errors, experience has his important role in so big projects. Well, we filled 4 pages so it’s time to make a proper closing. Last two questions: 1) Would you like to organize kind of lollapalooza in Apskaft sauce? I mean something less elephantiac, of course 2) Have you got a short message for the masses, like A short message for the masses, hmm... how about a John “live fast, die young”? (not necessary so self-destructive :-D) Cage quote: The thought has crossed my mind more than once, actually. I had a vision of the active core of Apskaft gathering in a secluded rural place somewhere, with instruments, non-instruments, and recording equipment - wouldn’t you just love to find out what would come out of such a thing? I have no idea how to make it happen though. It’s just a thought...

It is better to make a piece of music than to perform one, better to perform one than to listen to one, better to listen to one than to misuse it as a means of distraction, entertainment, or acquisition of “culture.” So keep making music, ffs!

APSKAFTERS 17 01 - DEC 2011


APSKAFTERS Apskaft Classics Awaycaboose - tHE bOY wITH tHE tHREEFOLD mIND by fydhws

Awaycaboose, the man behind itsu jitsu netlabel, promoter of obscure home made dysfunctional sounds, was constructing mosaics of music pieces from 2009 till 2011. The new/old (re)incarnations of this young fella are Cavity Pitch, fifebot, The Earl of Shoes, 音一, Gondwanaland School of Subcutaneous Noise Infraction, and who knows how many other. But for those 2 years span Awaycaboose was really putting out tons of good music, characterized within the Noise-Hop, Harsh Ambient, Sound Collage, Soundscapes, Glitch, Sound Art, genres. Most of the releases found under this pseudonym are the “a tRACK a wEEK fOR a a tRACK a wEEK fOR a yEAR – pART eIGHT yEAR” EP’s, which are great music workouts, short noisy catchy tunes along with glitch beats and under sound art explorations. But, three album names were really popping out, “tHE bOY wITH tHE tHREEFOLD mIND”, “Iron Horse” and “Rabbit Ears”. And the text bellow will try to make some kind of justice to the first one. Ahead of us is 29 minutes of sound art collage soaked in noise psychedelia, on some moments confusingly disturbing and on others you just can’t turn off that madman smile of acceptance from your face. It starts similarly like those “A monstrous psychedelic bubble exploding in your mind” adventures by FSOL, or their ISDN concerts, although as whole it bears more resemblance with the later, but don’t be fooled, this record goes much deeper in the psychedelic realm and it’s way more darker, it would be like comparing the Ray Charles’s “Hit the road Jack” with the Residents version.

tHE bOY wITH tHE tHREEFOLD mIND

There are couple segments through this piece in which popular song fragments are appearing like wondering soul that just stepped in a world 180 degrees different than theirs, and they got the soothing treatment, blending into the atmosphere, camouflagAPSKAFTERS 18 01 - DEC 2011


APSKAFTERS Apskaft Classics Awaycaboose - tHE bOY wITH tHE tHREEFOLD mIND by fydhws

ing their appearance into this world of noise and atonality. Or maybe the archaic pure noise is devouring everything that comes in her way? Occasionally, spoken word/half sing passages are appearing heavily processed, giving the allusion of a rambling madman reading his favorite apocalypse paragraphs. And the last movement of this sprawling music endeavor is spiraling 5 minute dance between white noise feedback and piano moving melody, perfectly ending the piece, like ray of sunshine after storm. oNE oF tHE aWAYCABOOSE sTATES

Don’t be afraid to walk through this non-exit sound labyrinths, just enter, the maze will spit you out, sooner or later. After all, it’s Apskaft Classic.

Iron horse

rabbit ears

APSKAFTERS 19 01 - DEC 2011


APSKAFTERS MONKEY TALES THE INFINITE SURFACE by Peter-David Smith

The world was flat. We heard all lies and geometry. The continent upon I grew up was surrounded by an infinite sea. Equations hoped and the deep numbers. The world was flat and had no edge. Sadness was twopence a go, spiking. My people were called explorers and sailed the vast ocean to contact and trade with other countries, go. Good morning deviants, go. My name in those days was Karl and I found employment as a midshipman aboard one of our most advanced sailing ships, The Naughty Lass. Sometimes we added dispair to anxiety and made a dance. Wooden mainly. My uncle was a geo-technician working on the earth drilling project. When they tried. They were trying to find if there was anything different down there, or was the earth infinite in a downwards direction as it seemed to be in all other directions. On and on, every direction seemed to stretch to infinity. There’s music in trying to restrict the mountains or rumour bones. Subsidise and subterrain and heads and tails to the wall. Talking. I’d heard of space probes which attempted to learn if the sky went up forever or was there a top? There were clouds at 30 thousand feet and clouds at 300 thousand feet and clouds at three million feet, between the stars we used for navigation. We kept getting signals from tree roots and air molecules. Something about measuring the width of the space between the minutes just before waking. Heavenly stillness which moves. Did the sky go up forever, did the earth continue down and down, forever down? Unending as a Sunday afternoon when it rains. Staring out at the possibility of an ending. The bees were putting something contradictory in the honey. Was there another lover? Reassured by the certainty of mortal extremes. The stars must go somewhere in the day. Surely? Space had been sent to follow them but radio contact was lost when the sun appeared. We were excited by negative sound and speech beyond. Pain focussing on the void. The next night the stars appeared as usual and the space probes came with them, still tracking their targets. No one knew where they APSKAFTERS 20 01 - DEC 2011


APSKAFTERS MONKEY TALES THE INFINITE SURFACE by Peter-David Smith

had been during the day but the computers on board were scrambled completely. It was as if they’d been somewhere which could not be computed. The attempt to record information in that place had twisted the computers’ logic into Mobius strips of paper corn dollies. We’d been hurt, at some time, at some time, and the hurt had not gone away and it was at some time and at some time and that time subjected to wishing machines and the jewelery of offering. History of difference and knowing creation of loss. Some people said the sun went down under the earth at night and that the stars went to the same place in the day. This remains unproven. Alonia played the wrong game of opposites and urination came unexpectedly for her boy, who ran out the door in hurried coat and covering his shame of tight trousered stripe. The chemical analysis of stellar emissions remained constant before and after these events. I’ve sailed on voyages to many lands. We get tech from different cultures and they get tech from other cultures further away who, in turn get tech in trade from cultures even more remote. No one knows how far the ocean goes but it seems to not have an ending. Money was exchanged for unknown goods and memories were stolen. Gods sat in their boxes and howled. The furthest land I’ve visited was Traxoll, 13 million miles across the sea. Of course we didn’t get that far on the usual sailing vessel. We were in a ship powered by conceptual paradox. The Traxollians had never before seen apples or oranges or even clothing. Good trading times. Even though so far, so far, in our hearts we were told there were levels.

APSKAFTERS 21 01 - DEC 2011


APSKAFTERS MONKEY COMIX APINAN RAVIOLIA by Tuomas K채rkk채inen

APSKAFTERS 22 01 - DEC 2011


APSKAFTERS MONKEY COMIX APINAN RAVIOLIA by Tuomas K채rkk채inen

Mysteeri (mystery)

APSKAFTERS 23 01 - DEC 2011


APSKAFTERS MONKEY COMIX APINAN RAVIOLIA by Tuomas K채rkk채inen

Makupala (Tidbit)

APSKAFTERS 24 01 - DEC 2011


APSKAFTERS MONKEY COMIX APINAN RAVIOLIA by Tuomas K채rkk채inen

Automies (Car Man)

APSKAFTERS 25 01 - DEC 2011


APSKAFTERS MONKEY COMIX APINAN RAVIOLIA by Tuomas K채rkk채inen

Ornitologi (Ornithologist)

APSKAFTERS 26 01 - DEC 2011


APSKAFTERS MONKEY COMIX APINAN RAVIOLIA by Tuomas K채rkk채inen

Ei-vegaaninen croissant (Non-vegan croissant)

APSKAFTERS 27 01 - DEC 2011


APSKAFTERS MONKEY COMIX APINAN RAVIOLIA by Tuomas K채rkk채inen

Silm채leikkaus (Eye Surgery)

APSKAFTERS 28 01 - DEC 2011


APSKAFTERS MONKEY COMIX APINAN RAVIOLIA by Tuomas K채rkk채inen

Death Gone Wild

APSKAFTERS 29 01 - DEC 2011


APSKAFTERS MONKEY COMIX

peter-david smith, speculativism and cyborg jazz present:

mind body soul comics

APSKAFTERS 30 01 - DEC 2011


APSKAFTERS MONKEY COMIX

APSKAFTERS 31 01 - DEC 2011


N O V E M B E R

2 0 1 1

-

n .

1

APSKAFTERS OF F IC IAL

THE

Hox (Gianluca Missero)

SOUND

OF

APSKAFT

EDITOR, DESIGN, WRITER

Tuomas K채rkk채inen

WRITER, COMICS

Peter-David Smith

WRITER, COMICS

fydhws

WRITER

APSKAFTERS - The Sound of Apskaft official monthly magazine Web presence: WEBSITE - BLOG - YOUTUBE CHANNEL - BANDCAMP - INTERNET ARCHIVE cover image: Pierre Schaeffer in action

M A G AZ INE

APSKAFTERS N.1  

The Sound of Apskaft netlabel monthly magazine, issue n.1

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