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Sons Of by Sam Prekop and John McEntire

❝ Beyond their work together in The Sea and Cake, Prekop has garnered acclaim for his solo releases in ensemble or on modular synthesis, as well as for his visual art and photography. McEntire is one of the most celebrated engineers, composers, and drummers in forward-thinking music. With nearly three decades of experience working together, this is their first full-length collaboration as a duo … Sons Of finds two master craftsmen working at the nexus of pristine production and skillful improvisation, forging compelling narrative arcs into glistening metropolises of infinite pulse. ❞ *

https://memora8ilia.com/index.php/2022/07/22/sam-prekop-and-john-mcentire-a-ghost-at-noon/

A Guide to Chrome’s Dark, Dense Discography

I was pretty excited to see Chrome featured on Bandcamp Daily. I initially found Chrome in my mid-teens through the “New Age” video (probably seen via Night Flight). I was always on the hunt for weird shit™ to help me escape the confines of life in Central Louisiana, and “New Age” fit the bill. The song — and Chrome’s output at the time — was a remarkable portent. It signaled many things on the horizon, not just sonically but culturally as well. Check the cyberpunk current running through the “New Age” video, which also pays homage to A Clockwork Orange and THX 1138.

Around the same time that I discovered Chrome, I also encountered Cabaret Voltaire’s Red Mecca. That’s not too far off of a connection — Chrome were, in a way, the American Cabaret Voltaire when one looks at their respective experiments recorded in the late ‘70s and early ’80s. And as Red Mecca is accepted as the sound of a dark reflection on England’s Thatcher years, Chrome’s 1980 album Red Exposure (alphabetically aligned!) could be seen as a similar reaction to the national mood that brought the US into the Reagan era.

And just listen to Cabaret Voltaire’s “Landslide,” taken off Red Mecca. My favorite DJ in the world will be the one who mixes this with “New Age” in the middle of a packed-out ’80s night somewhere.

https://memora8ilia.com/index.php/2022/07/21/a-guide-to-chromes-dark-dense-discography/

gregor-samsung:

این فیلم نیست [This Is Not a Film] (Jafar Panahi, Mojtaba Mirtahmasb – 2011)

,

❝ I want you to put yourself in my shoes as a filmmaker who can’t do anything else but make films, and doesn’t want to do anything else. How much time do I have left? Do I have twenty years left to live? I cannot stay idle. I know this is what they want. They let me out of a small prison and released me to a much larger one. When I was in a small prison I knew there was nothing I could do there. Every movement was being watched. […] Now that I am so-called ‘free’, but in reality in a larger prison, I have to do something and cannot stay idle and let my life be wasted. ❞

Today’s news:

Iranian Judiciary Says Filmmaker Panahi Must Serve Six-Year Sentence For Supporting Protests

Terrible and shameful. Any country should be proud to have a master and artist like Jafar Panahi within its borders. If you’re not familiar, pick one + watch → bit.ly/3PlIXWv

https://memora8ilia.com/index.php/2022/07/19/gregor-samsung-%d8%a7%db%8c%d9%86-%d9%81%db%8c%d9%84%d9%85-%d9%86%db%8c%d8%b3%d8%aa-this-is-not-a/

❝ The 1966 short The Cut-Ups is probably Burrough’s best-known foray into experimental film, which he made with filmmaker and renowned smut/horror distributor Antony Balch. The film features random, repetitive shots of Burroughs in New York, London and Tangiers spliced together in precise lengths but with little regard for the content of the image. The audio is a cut-up conversation with the words “Yes” and “Hello,” getting looped over and over and over again. ❞ *

https://memora8ilia.com/index.php/2022/07/17/the-1966-short-the-cut-ups-is-probably/