Sunday, 17 February 2008

Nocturnal Emissions shows coming up

March 6 2008: El Centro, Murcia, Spain

La música es uno de los lenguajes más abstractos que existen y sin embargo es, posiblemente, el más universal de todos. Esto se ha podido comprobar no ya sólo en la vigencia de obras y autores denominados clásicos en un sentido amplio y en todas las culturas, sino, y más explícitamente desde la invención de los aparatos reproductores, en el grado de repercusión social que ha logrado alcanzar en nuestros días. No es que todo el mundo entienda de música, pero sí es sensible a élla y es capaz de comprenderla, interpretarla venga de donde venga.
Actualmente, para la música popular de nuestro tiempo no existen barreras culturales, idiomáticas, estéticas, ni tecnológicas, o sería más apropiado decir que no deberían existir.
Es precisamente éste el principal objetivo de este ciclo: comprobar y disfrutar esa ausencia de barreras.

April 13 2008: The Cavern, Gandy Street, Exeter, UK with Dieter Muh and The Durds


I know its a long way away but for all you experimental/industrial fans heres something interesting: SUNDAY 13 APRIL - CAVERN - NOCTURNAL EMISSIONS + DIETER MUH Nocturnal Emissions, masterminded by Nigel Ayers and a handful of cohorts, has been investigating the complexities of the human psyche since the early '80s. In its earliest incarnation, Nocturnal Emissions created blistering collages of electronic noise infused with the anti-funk rhythms found in NE's postindustrial colleagues such as SPK, Coil, and Cabaret Voltaire. After a few dodgy attempts at New Wave, Ayers turned his attention to the alchemy of post-Eno ambience. Now, toiling away in his sonic laboratory in Cornwall, England, Ayers conjures delicate refractions of shimmering tones with cosmic touches of '70s electronic work from the likes of Cluster and Conrad Schnitzler. These influences can be readily heard on 1997's Sunspot Activity album, the aural equivalent to looking at the sun. Ayers didn't title any of the tracks on the album, so we've titled the selection presented here "II." While Ayers doesn't appear to be manipulating VLF static or the sferic whistles attributed to sunspots, he has fashioned a beautiful album that mirrors the sun's white hot ambience as it waxes and wanes in deep space. Deep sleepwalker ambient floes continue throughout the 1997 album Omphalos!, until "Arbor Low" slips into hyperdrive with an uptempo breakbeat skitter. Recently, on 2000's Future Antiquarianism, NE's shape-shifting sound has tentatively returned to the beat: drum and bass breaks emerge from the soothing ambient passages in a rather hypnotic take on that manic genre.
The Durds will be supporting this show with a special one-off performance by Dan Cray and installation artist Fliss Shillingford. Signed to Banazan Records in california The Durds like to make nasty, funky, folky pop songs and do not care whether they are done on computer, groovebox, Playstation or Spanish guitar. The Durds are desperation-fuelled electrofolk tied to a belief that pop can and should be about anything (this tends to mean the usual tortured artist fare such as violence, decay, illness and unrequited love/lust).

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