For the uninitiated, Joe Coleman paints meticulously constructed circus-dream visions that often depict serial killers and does performance pieces in which he bites the heads off rats and sets off explosions on his own body. One Chicago performance found him arrested and charged with “possession of an Infernal Machine” (a machine or apparatus maliciously designed to explode and destroy life or property) — a charge not levied against anyone since the 19th Century.
The pieces in Robert ParkeHarrison‘s The Architect’s Brother depict a character named “Everyman” coping with a number of distraught scenarios in which the pace of technology has out-stepped the resources of the earth. As tired as this theme may sound, ParkeHarrison brings a new perspective to each of many glimpses of these possible futures. These images are riddled with melancholy, but the weight is ultimately lifted by an unflagging belief in human agency.
Well, last night I finally got out of my bedroom and subjected the public to my loud, noisy tastes in vinyl. Yep, my first live set in several years. I hauled a crate down to the Rosary Room (in downtown San Diego) and played a brief, but fun blend of noise.
The set list looked something like this:
Unwound — first minute and a half of “We Invent You” (it’s just guitar feedback, if you haven’t heard it)
Mogwai “Secret Pint”
My Bloody Valentine “Soon”
Camera Obscura “Cinemateque”
Brian Eno “Deep Blue Monday”
Hood “Branches Bare”
Bare Minimum …