KINDERTOTENLIEDER ist eine einzigartige Inszenierung um die Unergründlichkeit des Todes und die zu seiner Bewältigung gefeierten Rituale und Zeremonien. Inspiriert ist die international tourende, französische Choreografin und Puppenmacherin Gisèle Vienne von dem gleichnamigen Liederzyklus von Gustav Mahler und von dem Mythos der „Perchten“ – heidnische Kreaturen, die im Winter Schutz gegen Dämonen und Geister bieten. Mit einer stimmungsgeladenen Gesamtkomposition von Choreografie, Musik und Raum gelingt Gisèle Vienne ein Panoptikum lebendiger und künstlicher Gestalten, die sich zwischen melancholischer Winterlandschaft und Black-Metal-Konzert bewegen. Ob leblose Puppen oder agierende Körper, Gisèle Viennes Gestalten erscheinen uns fremd und vertraut zugleich. Ihre Skurrilität weckt unerwartete Assoziationen und Phantasien und lässt spielerisch Realität und Fiktion mit einander verschwimmen.

Gisèle Vienne gilt derzeit als Shootingstar der französischen Theater- und Tanzszene und wird zum ersten Mal ihre Arbeit in Hamburg präsentieren.

Konzeption und Inszenierung: Gisèle Vienne
Text und Dramaturgie: Dennis Cooper
Musik: KTL (Stephen O’Malley & Peter Rehberg) und „The Sinking Belle (Dead Sheep)“ von Sunn O))) & Boris (monté par KTL)
Licht: Patrick Riou
Mit: Jonathan Capdevielle, Margrét Sara Gujónsdóttir, Guillaume Marie, Anja Röttgerkamp, Jonathan Schatz

K.T. Lewandowski, Bursztynowe Królestwo
Kupiłam tę książkę tylko dlatego, że jej autor wydał wojnę na słowa redakcji internetowej, która opublikowała recenzję zdradzającą zbyt wiele. Lubię trolli internetowych i jestem gotowa wspierać ich swoim portfelem.

Recenzja, o której mowa, faktycznie opowiada nawet zakończenie tej powieści. Tyle że nie wiem, czy to akurat tak bardzo szkodzi. Mnie kompletnie nie ciekawiło, jak się rozwiąże wątek polityczno-militarny. Nie, żeby był nieciekawy. Ale sporo wskazywało na to, że właśnie tak zostanie rozplątany.

Lubię powieści, które pokazują alternatywną ścieżkę dziejów. Nie przepadam natomiast za książkami przygodowymi. Wyrosłam z Karola Maya. Nie moje klimaty, nie podejmuję się ich oceniania.

Ade Fenton

Vorpal- ‘Cartoon Violence For Camille Saint-Saens’ (Sublight) (LP- Digressions)
Gazormass- ‘Todial Chamber Tu’ (WWilko) (LP- F***FranceGermany)
Jakes- ‘3Kout’ (Dubplate)
Rusko- ‘2 Far’ (Dubplate)
Jega- ‘Aerodynamic’ (White)
Aphex Twin- ‘Lornaderek’ (Warp) (LP- Drukqs)
0=0- ‘Xtata VIP’ (White)
Superimposer- ‘Catalyst’ (Extended Version) (Dubious Audio) (LP- Thought Fungus)
Bob Humid- ‘It’s Warm Besides The Submarine Cables’ (Suburban Trash) (LP- Second Wind Phenomenon)
MiJim- ‘Eiphon Skank’ (Dubplate)
Earzumba- ‘Patita Ronosa’ (Dial SinFin) (LP- Hermsos Movimiento & Florence Escondido)
Murcof- ‘Cosmos I’ (Leaf) (LP- Cosmos)
False- ‘Disease/George Washington’ (M_nus)
Ade Fenton’s Future Industrial Mix
MC Totally Rad & DJ F***- ‘Burning Desire’ (Jarring Effects) (LP- Jfx 1 Digital Antithests)
Fantomas- ‘Night Of The Hunter (by Walter Schumann)’ (Ipecac) (LP- The Director’s Cut)
Moving Ninja- ‘Uranium’ (Tectonic)
John Tchicai- ‘Lullaby’ (Treader) (LP- John Tchicai with Strings)
KTL Live In Session
Mica & The Cluster Collective- ‘Clean Dirty Mic’ (Dubplate)
Seaming- ‘Vertigo Billy’ (White)
Xela- ‘Masculine Guilt’ (Rite) (LP- Electronic Music)
Ricardo Villalobos- ‘What’s Wrong My Friend’ (Perlon)
Toothgrinder- ‘Animosity’ (Drumcorps Mix) (White)

discogs.com

hotfile.com

Recently I made the decision to watch Tommy Wiseau’s The Room for the third or fourth time. It might be more than that. Anyway, I decided that in the style of KTL and their work on The Phantom Carriage I’m going to compose an alternate score for The Room.

The whole thing will be made available on here for free like everything else. Not the film, legally of course this is a no-no so you’ll have to synch up the audio to the movie yourself. So far I’ve got the first four scenes down, I’ll put up some samples in the next few days. For now check out the videos below from The Phantom Carriage to give you an idea where this is all headed…

The first thing that comes to mind when I hear this black, burbling, gurgling, humming, thrumming, chaotic cloud of barren-wasteland drone is this: Why did so few talk up Pentemple, the live collaboration between Stephen O’Malley/Greg Anderson of Sunn O))), one-man death army Sin Nanna (Striborg), Oren Ambarchi and Attila Csihar of Mayhem?

KTL are the duo of Steven O’Malley from SunnO))) and Peter Rehberg (Pita). They originally formed to create music for a theatre piece called Kindertotenlieder  which I think means Place of Dead Children or something like that. I own all three KTL records available  on CD and I think they may have surpased themselves with this one. One of the slight criticisms I have of their previous records is that their quest for minimalism could sometimes be a bit too minimalist for my taste. IV amps up the creep factor that was present on the previous records. O’Malley’s doom riffs are more out front and centre and Rehberg’s tense electro-fuckery make the atmosphere of IV chillingly bleak. The frightening and dark Paratrooper is my favourite track. As the longest track here at over 20 minutes, Rehberg allows his laptop to create a disturbing Dystopia not quite matched on KTL’s other records.  IV is proving to be an expensive purchase at the moment given the strength of the Euro but shell out for this if you can, it may be one of the best things produced this year and a fitting soundtrack for the current GFC. 

KTL: KTL
Editions Mego (2006)

The sonics of Black Metal have spawned an entire world of weirdo, ambient but heavy-as-fuck mutants making dark and cavernous music that gets your teeth rattling. Here the impossibly busy Stephen O’Malley (Sunn O))), Ginnungagap and numerous other outfits) and electronic composer Peter Rehberg (Pita) converge their powers to create this monster of doom, drone ambiance.

Opening with a 25-minute organ drone, which slowly (ever so slowly!) builds into a ‘crescendo’ of O’Malley twang, the boys hit the pedals and get down to business. KTL is a plodding sea urchin of detuned, blown out guitars and electronic squeals. They lure us deep down into some long forgotten cave where blind amoebas ooze down the walls to feed on our brains.

Everything O’Malley touches is about the ‘drone’ but don’t be fooled into thinking this is just more of Sunn O)))’s same. Where that band is about ritual and pagan rites of passage, there’s something much more natural and earthy (another tribute to O’Malley’s favourite act, I guess) about the sound of KTL. The track titles allude to this vibe (Forest Floor #1, Snow), but this sense is also reflected in the rich browns and  autumnal colours of the sound they’re manipulating. Hence my cave analogy.

We can’t allow Rehberg to be overshadowed by O’Malley. I’m not familiar with his work, but in KTL he is given free reign to fly solo over the mass of guitars.  On Forest Floor #2 he toys with high register squeaks and missives that create an awkward tension, while on Forest Floor #3 he adds another layer of doom to the low-end guitars like a heroin addict’s nightmare.

The album is bookended with a second restrained piece that collects field recordings and static hiss, while O’Malley seems to wrestle with his guitar in the background. The instrument almost has a life of its own, occasionally getting the better of him to spurt out a twang or jarring shriek. With so much sound on the rest of the album these subtle moments are a welcome relief. The restrained and jangly sounds on this record have definitely had an influence on Sunn O)))’s more recent output, such as last year’s Domkirke.

KTL is the first release in a series of albums and live-recorded podcasts that have been released independently. I must get around to picking up a few more of KTL’s gems.

With Sam away in New York it’s up to Tom to hold the fort with the aid of plucky producer John. Join the pair as the show takes a slight dip in quality with news of Stretch Armstrong, Half Life 2, Uwe Boll. In other developments John is painfully in love with The Shield, KTL’s score to The Phantom Carriage and Tom joins in with his two cents on Resident Evil: Degeneration.

Download Episode 06

First of the year here but this covers the last three months, mostly!

• 2000 and One — Heritage
• Phantom Band — Checkmate Savage
• Marion Maerz/Ingfried Hoffman — Burt Bacharach Songbook
• The Drones — Havilah
• OvO — Croce Via
• KTL — IV
• Robert Henke — Atom/Document
• Humcrush — Rest at Worlds End
• Piemont — Strange World Beyond
• Elegi — Varde
• Revolting Cocks — Sex-o Olympic-o
• Tim Hecker — An Imaginary Country
• Oh Darling — Nice Nice
• The USA is a Monster — Space Programs
• Wino — Punctuated Equilibrium
• Lorna — Writing Down Things to Say
• False Icons — God Complex
• Hotel Hotel — The Sad Sea
• Northern Valentine — The Distance Brings Us Closer
• Grayceon — This Grand Show
• Viking Moses — The Parts That Showed
• Marykate O’Neil — Underground
• Phosphorescent — To Willie
• J. W. Farquhar — The Formal Female
• Necroblaspheme — Destination: Nulle Part
• Steve Roach/Erik Wollo — Stream of Thought
• Roger Manning — Catnip Dynamite
• April — Anthems for the Rejected
• Gary Farr — Take Something With You
• Gaiser — Blank Fade
• Charlie Louvin — Charlie Louvin Sings Murder Ballads and Disaster Songs

Esce a fine gennaio il nuovo album degli Æthenor, licenziato dalla interessantissima Vhf Records. In questo terzo lavoro O’Malley (Sunn O))), Ktl), O’Sullivan (Guapo) e De Roguin (Shora) scelgono di farsi accompagnare da Alexander Tucker alla chitarra e David Tibet alla voce, oltre che da Nicola Field ed Alex Babel, dediti alla sezione ritmico-percussiva. E potrei anche fermarmi qui!

La cupezza apocalittica e la lugubre sinuosità della materia sonora Æthenoriana, unita con la maestosa ed austera teatralità del cantato-recitato di Tibet, sembrano riportare alla luce i primissimi Current 93; a tratti è un déjà vu, ed è terribilmente gradito. Man mano che scorrono i minuti i suoni si fanno sempre più scomposti. Drones aritmici trasformano le onde acustiche che si sprigionano dalle casse in gettiti di monossido di carbonio. La voce di Tibet sembra pervasa da visioni sataniche, frutto di un trip scaduto e poi immerso nell’amianto liquido. In questo magma di folk nero metallico acidificato c’è anche spazio per la luce e la speranza. L’ultimo episodio del disco sembra infatti un’ascesa dagli inferi, con Tibet che sembra inneggiare alla redenzione universale e gli altri sei lesti a costruire un muro sonoro che si erge dalla terra fino all’infinito, illuminandosi “solamente” di scintillante bravura. I suoni diventano sempre più rarefatti, poi cessano del tutto: applauso assoluto!  

Tracklist

non disponoibile

ktl, première mise en ligne par Alexander O’Toole.

Tout d’abord, bonne année à tous !
(J’ai quand même quelques dizaines de visiteurs uniques par jour…)
Et que 2009 soit propice à la créativité !

En surfant de page en pages sur myspace, j’atterris sur la page de Stephen O’Malley (guitariste de Sunn O))), Khanate, Burning Witch) et là… j’ai la bonne surprise de constater qu’il a utilisé une de mes photos pour illustrer son album !

earth (usa) sir richard bishop (usa) ktl (usa) mercredi 13 février 2008

Ça fait toujours plaisir de voir que des artistes que l’on affectionne utilisent un ou deux de vos clichés ! Il n’a pas mis mon copyright mais bon, c’est pas comme si j’étais une star… Et puis j’ai bien dû télécharger un album ou deux d’ O’Malley alors c’est de bonne guerre !
J’ai pris cette photo au Grand Mix de Tourcoing. Ce soir là, Mr O’Malley jouait avec KTL en première partie de Earth, groupe de Dylan Carlson (il était très ami avec Kurt Cobain, d’ailleurs il lui aurait acheté une arme… une arme avec laquelle Kurt Cobain se serait suicidé ! Mais ça c’est pour la partie people du Blog).

J’aime beaucoup cette photo ; elle retranscrit bien l’ambiance du concert : lent, lourd et sombre (forcement dans le noir). Je ne suis pas un grand fan de KTL – mes préférences se tournent plutôt vers Sunn O))) et surtout Khanate –  mais je ne suis pas resté indifférent à ce concert : le premier concert où j’ai vu ma pinte de bière se déplacer toute seule sous l’effet des basses !

Mon grand regret c’est de ne pas avoir vu Khanate en Live…