SACRED TRICKSTER x KLAPPFON: SHIT & SHINE

Shit And Shine

“There’s no other band working today for whom the words ‘post-everything’ ring quite as true as they do for Shit & Shine. They’ve traversed uncharted plains between noise rock, outright digital abstraction, and pop-like tropes, shifting from non-sequitur to non-sequitur, donning blue face makeup and rabbit masks, and yelling rambled nonsense over drum rhythms repeated for half an hour at a time before breaking into haphazardly assembled concrete pop. They’re utterly unlike anything else, but only by being sort of like everything else all at once.” – Drowned In Sound

“Based in Texas, Craig Clouse makes a lot of music, and he has fun doing it. How else do you explain record titles like Cunts with Roses, Toilet Door Tits, You’re Lucky to Have Friends Like Us and, perhaps best of all, Find Out What Happens When People Start Being Polite For A Fucking Change?

For over 10 years, Clouse and the various other musicians who’ve been in and out of Shine and Shine – the group’s press material regularly refers to performing live with 10 drummers at a time – have been gutting post-punk, krautrock, electro and more for parts, combining the grubbiest aspects of all those sounds into something that’s somewhere between Big Black and Big Beat.” – FACT

https://shitandshine.bandcamp.com

Carlos Giffoni

About 20 years ago, Carlos Giffoni quickly made a name for himself both as a noise guitarist and a laptop noisician upon arriving in New York (via Florida and Venezuela). His expertly curated annual No Fun Festival, as well as his No Fun label, further solidified him as a key figure in the international noise scene. The festival’s success proved the formula for experimental and improvised music fests could work with the noise underground as well, but it also capitalized on the faster rate of connections being made between geographically disparate artists as a result of the (still relatively nascent) internet. Back then Carlos would play his laptop like a pinball machine, in contrast to the static stage presence of most laptop performers, and his solo music, like many others’ at that time, expressed a less dark and dour vision of the implications of harsh noise. By the close of the 2000s, he had stopped doing the festival, switched gears musically to playing the lighter No Fun Acid sets, and moved to LA.

Now he has re-emerged in a big way with Dream Walker, his first full-length since 2018’s Vain (and only his second since 2010). Inspired by the masterful performances and diffusions he heard at the February 2023 GRM electronic music festival in Paris, particularly sets by old friends Lasse Marhaug, Jim O’Rourke, and Eiko Ishibashi, he began conceptualizing new music of his own in response, turning to synthesizers and other hardware to produce a work more firmly in the tradition of European electronic music than anything else he’s done. Intended as a late night listen that evokes the edge of consciousness, with Carlos getting as close as possible to a trance state during the actual recording and mixing, each of the eleven tracks transition into one another rather than being standalone discrete pieces, forming two side-long suites that proceed like stages of a dream.

https://www.ideologic.org/release/soma053-carlos-giffoni-dream-walker
 

frixie regex

michael kunkel: rickomat, soprano sax, mini synth
daniel steiner: voice, drums, larynxophon

https://luanarecords.bandcamp.com/album/rodeo-songs-12

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