EMPTINESS

I have no respect for the words spiritual or god…none.

They are two of the most vacuous words to have ever been uttered and so many of the people who use them, I have found upon much reflection,  do not deserve my respect. This is not necessarily true of all.

A person’s goodness has absolutely nothing to do with these words in any way shape or form. Goodness is purely the result of moral behaviour that is the product of nothing other than natural, perhaps even biologically innate, things or forces.

Respect for good people also comes irrespective of these vacuous words. It comes solely from their natural goodness and nothing else. If someone deserves my respect, that respect would have absolutely nothing to do with the vacuous words, spiritual or god, and/or  any other word that may be in any way connected to or associated with them.

If anyone utters the words spiritual or god in my presence, depending on the place and perhaps concern for others  around I may already respect – but then, maybe not even then – they will be asked to cease using them, as, beyond the indisputable  fact that they are completely empty of any meaning, I find the use of them  to be nothing other than presumptuously insulting.

I have been completely exhausted of any respect for these words and it cannot ever be redeemed.

ADJUNCT NOTES WORTHY OF RESPECT AND ONE’S CURIOSITY.

“Just as the mechanical philosophy appeared to be triumphant, it was demolished by Newton, who reintroduced a kind of “occult” cause and quality, much to the dismay of leading scientists of the day, and Newton himself.The Cartesian theory of mind (such as it was) was unaffected by his discoveries, but the theory of body was demonstrated to be untenable. To put it differently, Newton eliminated the problem of “the ghost in the machine” by exorcising the machine; the ghost was unaffected.” (Chomsky, 1994 : Naturalism and Dualism in the Study of Language and Mind. International Journal of Philosophical Studies 2(2), 181-209 – p189)

“We can continue to distinguish ‘physical’ or ‘material’ from ‘mental’, but recognizing that the usage is only a descriptive convenience, with no metaphysical import” (Chomsky and His Critics, p13)

POLEMIC

It was not for nothing that Evil Dick used to call his label Polemic Music. This delusion that “good music” hovers above us sordid social animals like some unearthly pristine unctual anointment is a running sore which hurts us daily. In a false world, Truth becomes Polemic, not out of perverse itch of aggrandisement but simply by being true to itself. The proselytisers for “quality” are running stupid petty marketstalls whilst pretending they’re in a holy temple. Overturn the tables! Wreck the sales racks! In order to foreground the fact that all art is social (or anti-social!) statement, I wrote biographies of Zappa and Bailey – inspiral rubbishers of quality norms – but this “intellectual” approach got me the wrong audience. So I sent them over-educated suckers off to peruse Wire magazine, and tried something else: radio. After seventeen years, I’m glad to say I’ve gathered various Mitglieder (aka AMM All-Stars) and become a mite louder. Here is my most condensed and organised polemic yet, where I challenge you to tell the difference between: Blues, Freak Rock, Punk Rock, Free Improvisation, Politics, Entertainment and Poetry (with a little ugly something – probably called “Graham” – on the side …).

  • Evil Dick “The OTL Show Theme” 1:49
  • Evil Dick feat. Dave Jackson on tenor sax “Wolf Harbor” Mappa Zappa (Cordelia, 2018) 4:22
  • AMM All-Stars feat. Dave Black on bottleneck guitar “Glottal Bottleneck Folk Remedy” Combined and Uneven with Dipping Sauce 20-iii-2019 46:07>>52:08 6:01
  • The Blues Boys feat. Lonnie Johnson on violin “Memphis Stomp” 15-ii-1928 (Okeh 12″, 1928) 3:02
  • Mothers of Invention feat. Frank Zappa on sped-up guitar and Art Tripp on percussion “Nine Types of Industrial Pollution” Uncle Meat (Bizarre, 1969) 6:00
  • Derek Bailey and Min Xiao- Fen “Da Qing Ye (Woad)” 16-xii-1997 Viper (Avant/Disk Union, 1998) 4:38
  • Captain Beefheart and Frank Zappa “Orange Claw Hammer” (KWST, 1975) 4:50
  • I Digress Indeed/Out To Lunch “Selection from Homo Fludens” (SoundCloud, 20-iii-2019) 18:26>>23:08 4:38
  • Gabba Zappa Hey! “Dead Girls of London” Mappa Zappa (Cordelia, 2018) 2:25
  • AMM All-Stars Still You Can Say Blacker and Blacker” Combined and Uneven with Dipping Sauce 20-iii-2019 31:20>>36:06 4:47
  • AMM All-Stars Composite of Multiple Developments” Combined and Uneven with Dipping Sauce 20-iii-2019 38:55>>41:26 2:31Music With
  • My Insane Friend and Loopy C “The BOOOOOOMMMM Connector” iii-2019 Old Dot Find (forthcoming) 13:02



HOMO FLUDENS

Splash’n’Klang is a musical practice developed by Out To Lunch in response to various problems facing modern music. Over the course of the twentieth century, recording wrecked the old composer-score-musician arrangement, enabling advanced music to dissolve the distinction between documentary sound and composed score (see Derek Bailey, Iancu Dumitrescu and Frank Zappa’s “Wolf Harbor”). However, although they play by ear and could invent every note, thus making each performance unique and extending musical variety and delight into infinity, most non-reading bands survive by reproducing known quantities. In order to encourage the musicians of AMM All-Stars to suspend musical time and pay attention to the sounds immediately in front of them, Out To Lunch records Splash’n’Klang in his bathtub: running taps, rattling the plug, pouring water from jugs, making bubble sounds, and striking floating bowls and glasses with plastic chopsticks. These rituals are then played during the weekly improvisation session by AMM All-Stars which constitutes Late Lunch With Out To Lunch, a radio show on Resonance FM (2-3pm Wednesdays). Splash’n’Klang was partly arrived at through email discussions with guitarist I Digress Indeed about listening to records whilst washing up, and noticing that emancipated music (Sun Ra, Derek Bailey, Tony Oxley, Eugene Chadbourne, Music With My Insane Friend, AMM All-Stars) renders each kitchensink noise vibrant, delicious and beautiful (“the thud of a saucepan as it hits the zink” as Richard Evans put it). OTL wanted to find a way of injecting these beauties into his broadcasts. He also acknowledges that humans and animals delight in water sounds because they remind them of urination (see James Joyce’s Chamber Music), and also of time spent in the womb and ancestral memories of all life’s oceanic origins. On 12th February 2019, possibly due to the drama of freeing a pigeon brought in by his two cats (Brella and Sox), OTL recorded a record-length Splash’n’Klang, and realised his application to this instrument had reached some kind of peak. So the soundfile was offered to I Digress Indeed (guitarist of Music With My Insane Friend) and this duet (one of three) resulted: “I can now join the pantheon of my personal household gods, and die happy” quoth Lunch.

Out To Lunch – Splash’n’Klang, pigeon rescue
I Digress Indeed – Guitar

TAKING CARE OF HIS OWN ERECTIONS.

The Dickster has done it again. Evil Dick, never one to shirk his responsibility to throw us all off the musical track, has created yet another exquisite red herring, Earthly Delights. Evil is a multi-instrumentalist of rare ability with a stunning imagination. A truly unique composer in a Varesian and Other Worldly tradition, whose music demands an attentive and serious,  yet inquisitive and  playful ear. A musician who never forgets to pose the question to the listener, in fact, to all of us, now living in an ever increasingly precarious world…

“Well, are you going to buy the fucking  thing or what?”

This album was compiled between January and August 2018. It takes its name from the famous painting by Hieronymus Bosch; however, comparisons largely end there. The music has its own logic, taking the listener on a sonic journey through a mysterious and often unpredictable, phantasmagorical landscape. The full title of this album is Evil Tends to His Garden of Earthly Delights.
credits
released October 31, 2018

Produced by Richard Hemmings.
All compositions and xenochronicity © 2018 Richard Hemmings.
Improvisations © 2018 Richard Hemmings, Dave Jackson, Craig Ashenden, Scott Freer. All rights reserved.
Environmental recordings made by Richard Hemmings andwww.freesound.org.
All artwork and photographs © 2018 Richard Hemmings, except the image of fly (borrowed from Google) and the photo of Dave (lifted from his Facebook page).
More stuff at evildick.co.uk.

Music With My Insane Friend vs Casio Loopy (Soundcheck Bootleg)

“MWMIF meets the Japanese-born female improvisor “Casio Loopy”, who is known for her improv’s using just a Roland “Dr. Rhythm” drum machine (controlled via a modified game console), and no-input digital delay. Recording was taken from a pre-concert sound check (date unknown?). This night, MWMIF draws strongly from their back-catalogue, while “Casio Loopy” shadows their performance surfaces with matching transient crosshatches and skittering counterpoints unique to her Onkyokei-inspired rig. Extra-musically, and for no explained reason, there were three pink crows in the rafters for entire set.”

CUT UP

Have only one main objective; work on your self esteem. Fiercely eliminate any people from your thoughts. Be careful about moving beyond your station; you might suffocate. Don’t be too rough with others, unless you enjoy being alone. Eliminate any blockages with people who no longer care for you. Think only of yourself. Nothing wrong with giving yourself a pat on the back once in while. Don’t think about it you deserve it.
Read more… “CUT UP”

THEIR MODERN MOURNING

Be it may we talk and I as I, in theory, am the OK man. Ideas, the Chakrabarty. Wow! Record it new and read. Plank, perhaps, realism. Bite off political IDEAS. Make subject the state. Not dismissing individual will less the “in” way to where deep is stored. Relative instincts talk against capitalism, individuals, nations, by definition class historicity. Within no state struggles. Their posturing points to totality. The fucking working guys incorporate the “us” approach. Luxemburg, even artists it seems, inconsequential, where the last anti-individual think tank is embroiled. Yeah… time. An ongoing personality show! Their modern mourning comes normally.
Read more… “THEIR MODERN MOURNING”