Sunday, December 31, 2006


truncated negation, yes please



diary of the ponygirl

Grow grow grow your gloat...

Because we are ignorant of such and such...of, say, thermodynamics, ranged over metal wires, as din, as sinewave, modified by devices, to sound like birdsong...we say these are


a lemonade grenade, at laminar, or Batman on Robbin Island, or Lep Cern, as hubris, in dog house, as money shot, convened on esperanto swastika, as a secret homemade sex-device

ticking turds of FROWNLAND:POUNDLAND, NB. please:

a thicky-disguised iterative Goya Moog, with singing: '...Wittgenstein was a gas...'; then again, through speakers, '...Wittgenstein was a gas-ah...'. Our fulcrums from the giant's table... Oh, gelatinous guitars, gelatinous guitars... Amplified peach juice, agit prop dialectics...


Emerson, Lake & Palmer

diary of the ponygirl

Premise: Listing-up like-belly-laughables; making them available, dintellectually [sic] - as a practical realisation of some loaded learning curve. Now then: All we are saying - manifesting, that is to say - is about some cack, dead-hand of some M. Kippenberger, fixing J. Jonah Cartoon; whilst thinking all the while that some ontological white line has been transgressed, blown away. One size fits all: A paint-splat on a gas-bill, framed in baby shit, hung in mid-air, using argon gas. Its title is code. Exams are needed. Admission is seemingly free, but is - physically, emotionally - costly and restrictive. There's no money in it, either. Measurements are made despite this. These are both prefigurative and a priori - some kind of cheap predictive. The mortality rate of these ideas is undetectable, except as black comedy. Ditto this: Scupture is included, also: a sports car, with double microwave ovum [sic], erouser-trouser-press, o/s map of e-Quatar, on a plinthe made of Alaskan snow and ice from a Jamaican fridge-freezer. This is lit by halogen bulbs, in pig skulls, in a sty made of discarded Coke Zero ringpulls.

One million years passes.

Friday, December 29, 2006


still from 'Small Circles' series

Status Quo-style denim sign. a clump, he sleats
*turn me on to your love*
work to / work from / work to / work from
will I fall he, will i shove?

still from 'Small Circles' series

depicts clown jewels

drawing of a therapist

roll over, lay down / role over, lay down

still from 'Small Circles' series


Eno-Ob-Scene-O, Cafe Abdab, 2006

still from 'Small Circles' series

says '...make similarity your dole...'

devolving ssssgod i c

leftist clucking, but we all know manga lugosi's dead

still from 'Small Circles' series

try this imperative for factual size: wring out your red-nose

Sunday, December 24, 2006

love and luck....

Monday, December 18, 2006

with you it's business, ibid.

with you it's business

how howl

howlingly howls how how howler

how now howl howls howler

howling how now

how now howler

how howls the howler

howl us out howling

howling howls the howler

Sunday, December 10, 2006

will work for furniture


Lee Lifeson-Peart, outside Cafe Abdab, 2006

Eno-Ob-Scene-O, Cafe Abdab, 2006

Saturday, December 09, 2006


Thursday, December 07, 2006

about excisions, kind people said this:

Right on
What fun
clock watching
Glad to see
heavy weather
laurie anderson
Boy it's nippley outside
cock in a frock
Gotta go make some breakfast
I'm having lots of fun
differentials, intentions
enjoying them quite a bit
stiff portions
food fighting
meat and drink; meat is mulder
I wanted to please encourage you
bird song
I know for sure
cabbage white
radiophonic inkling
should trade things
amazing variations
melodramatic, dramatic
squeezed chaos
interesting cat
I heard your stuff here
got most of them in one fell swoop
pale colours
excellent series of pieces
gloriously productive given limitations subscribed
in bath
pop art styliings
great variety of sounds and styles
johnny cash
johhny cash [sic]
musicianship and production are top quality
stinging, ringing
most impressive
Of course I have my favourites
most exciting
the way in which 7 emerges into the 'industrial' rhythm and the voice work being standout moments for me
Excision 10 contains that fantastic demented sounding opener
occluded notation
tasty progression into a more intense area
ways and means
wedding march
I hope you're going to be releasing some of this material
evokes 1981 for me
number 8's demon
fucking wow!
been listening
paula rego
really really impressed
robert wyatt
hungry, chasing slants
desk fan
you have made some lovely sounds and interesting to boot
killing joke
thanks a lot
nine inch nails
have just been lying back
lovely sounds
i feel proud of you
sent them on to two friends of mine
peace to your diseased mind
* Many thanks, murmurists

Chris Marker

Cafe Abdab

clag mag (front cover)

Eno-Ob-Scene-O, Cafe Abdab, 2006


Soutine Routine & J.G. Power-Ballard, Cafe Abdab, 2006

piss brush

Xy Satie & Ronnie-James RaDioHead, Cafe Abdab, 2006

Decaf Bjorknutrino, Cafe Abdab, 2006

fahrenheit 452

hair grows on our faces

site of scaffold

viz EXCISIONS series

excision one
for 10 string electric guitar, 6 string bass, and treated acoustic drum kit.
direct recording. single take.

excision two
for 10 string electric guitar, electric piano, and treated acoustic drum kit.
direct recording. single take.

excision three
for three amplified acoustic guitars, laptop, and field recording.
direct recording. single take.
*here, murmurists play rod hull to pat metheny’s emu.

excision four
for amplified acoustic guitar, electric guitar, 6 string bass, and treated acoustic drum kit.
direct recording. single take.
*here, murmurists reference aspects of david cunliffe’s drumming ca. 1990.

excision five
for amplified acoustic guitar, sequencer, ring modulator, laptop, and treated acoustic drum kit.
direct recording. single take.

excision six
for electric guitar, 4 string bass, synthesiser, and acoustic drum kit.
direct recording. single take.
*here, murmurists play rod hull to killing joke’s emu.

excision seven
for two electric guitars, synthesiser, drum machine, and treated human voice.
direct recording. single take.
*here, murmurists reference The Three Johns drum machinery, Geordie Walker’s guitar sound, and aspects of Jack Derbyshire’s synthesiser playing ca. 1990.

excision eight
for two drum machines and two electric violins.
direct recording. single take.

excision nine
for 4 string bass, two synthesisers, drum machine, treated acoustic drum kit, and treated human voice.
direct recording. single take.
*here, murmurists use min/maj phrasing and the phrase ‘trade follows breeze’.

excision ten
for 4 string bass, acoustic snare drum, two drum machines, field recording, and electric guitar.
direct recording. single take.
*here, murmurists reference the music of weather report and include an actual weather report.

excision eleven
for electric guitar, treated acoustic drum kit, 6 string bass, and live electronics and processing.
direct recording. single take.

Wednesday, December 06, 2006

from [click here]

The electric bass guitar was a brilliant invention, but its acceptance came slowly. Although Monk Montgomery and a few other pioneers latched onto the early Fenders immediately, a decade went by before the instrument's first virtuoso, Motown sideman James Jamerson, gave it legitimacy and respectability. Inspired by Jamerson's brilliant-and uncredited-work, such stylists as Paul McCartney, John Entwistle, Jack Bruce, and Larry Graham brought the instrument center-stage in the late '60s.Over the past two decades, appreciation of the instrument's possibilities has elevated such modern masters as Jaco Pastorius, Stanley Clarke, Jeff Berlin, and Billy Sheehan to celebrity status. And yet, one of the most innovative and important bassists of our time has-like Jamerson-functioned primarily as a sideman, and he remains largely unknown to contemporary audiences. His name is Anthony Jackson.Driven purely by an unshakeable love for, and dedication to, music, Jackson has consistently broken down musical barriers. His mastery of various pick and fingerstyle techniques and startling ability to restructure instantly the melodic, harmonic, and rhythmic direction of a piece of music mark him as an innovator of the highest order. Jackson has also conducted exhaustive research into the instrument's design and sonic reproduction, and his idea for a "contrabass guitar" predated the current boom in extended-range basses by nearly 20 years. Most important, as an artist, his refusal to compromise his integrity for popular trends has enabled him to retain his individuality in all musical situations.Anthony Jackson was born on June 23, 1952, in New York City, approximately one year after the introduction of the Fender bass. By age 12, his voracious listening habits, combined with a few years of "poking" at the piano, evolved into a desire to play the guitar. He started out on a standard 6-string but soon began to play bass guitar as well. By the time he was 16, he had moved to bass full-time, drawing from a diverse collection of musical mentors, chief among them James Jamerson, Jack Casady (of the Jefferson Airplane), and French modernist composer Olivier Messiaen.Jackson began to perform locally in 1966 and played on his first recording session in 1970. Two years later, he joined Billy Paul's band, receiving his first gold record for the hit "Me And Mrs. Jones." As a result, he started working regularly with the Philadelphia production team of Gamble and Huff. In 1973, he earned a writer's credit as well as an immediate reputation for his unforgettable bass line on the O'Jays' hit "For The Love Of Money." Shortly after, an informal demo session in New York for arranger Leon Pendarvis led to a session with pianist/singer Roberta Flack, and word of Jackson's sophisticated style spread quickly through the Big Apple's studio scene.A 13-month stint with Buddy Rich's sextet at the drummer's East Side club gave Jackson additional exposure. He then toured with both Flack and violinist Michael Urbaniak before the demands of session work kept him in town. Always one to disdain categorization, he nevertheless became known as a "studio musician," despite his seminal work with fusion artists such as Chick Corea, Al Di Meola, and John Scofield. (He also received an offer to join Weather Report in 1975.)After moving to Los Angeles in 1977, Anthony worked on projects with Lee Ritenour, Dave Grusin, Tom Scott, and others. He returned to New York on the eve of what was to become a pivotal year, 1978. During the period that followed, he reached new technical and creative levels, resulting in some of the finest contemporary bass playing ever recorded, with such diverse artists as Chaka Khan (Naughty, What Cha' Gonna Do For Me), Steely Dan (Gaucho), Al Di Meola (Electric Rendezvous), Paul Simon (Greatest Hits, Etc.), Eyewitness (Modern Times), and Michel Camilo (In Trio).In 1975, Jackson "terrorized" luthier Carl Thompson into building his first contrabass guitar-a 6-string bass tuned (low to high) B, E, A, D, G, C -an idea he conceived while in his teens. Working with successive guitar makers to improve design and playability, he finally began playing the instrument exclusively in 1982.


Tuesday, December 05, 2006

philosophical lineage



separating since 1952

squiggle and squoggle



Saturday, December 02, 2006

Jimmy Page