Snuff Crew has got nothing to do with snuff movies. It has to do with smokeless tobacco. Snuff Crew consists of two German guys, whose real names remain unknown. They simply call themselves Eins and Zwei. If you would shout out their names interchangingly, you would probably sound like a German Drill Sergeant. Yes, we have seen Full Metal Jacket. This was a bit off. That guy is not even German. He is from the US. So are the people Snuff Crew lists as influences. We won’t list them. Snuff Crew thinks analogue machines are simply magic. When they talk about their music, they use words like ‘acid’ and ‘jack’. On their Facebook they post lots of music from early nineties. Not all of us understand why they are so enthusiastic about it. We don’t think they would ever post a song with only a heart symbol next to it. Our biology teacher from high school went to politics. We always hated that guy. One of us had sex with his daughter. She is now engaged to a famous basketball player. That was too much of a diversion. Snuff Crew is good friends with KiNK, a man-crush of our very own NubiS. This is not why we got them. Snuff Crew considers their music as unfinished and experimental. Not in a way John Cage would understand this. Or John Lennon. We are referring to the title of those noise albums he did with Yoko Ono. We never really got what they were all about. Is there something to get? Like a message or a point? We don’t think so. Why do we talk like this then? Out of habit, purely out of habit. Also because it’s nice to talk like everybody else, to say the sun rises, when everybody knows it’s only a manner of speaking. This was an uncredited quote. Appropriation is literary communism. Snuff Crew logo looks like it could be printed on a New Yorker jersey. That has got nothing to do with us liking or disliking it. Snuff Crew performs live and wears masks on stage. They believe it is about the music, not about them. We believe them. Do we believe Danza Macabra? Maybe. We have invited Lavka as well. We heard he knows lots of acid songs. Gregij, Fejzo, Žakpižon, Loutseau, and Moe Lester are playing on the smaller floor. They will beat the shit out of speakers with garage music. We don’t know any of the tracks they are playing. We mainly listen to pop songs. Koala™ will take over the visuals. We are curious, what he is up to. (Mina, we still like you, although you talk shit about us in glossy magazines.) INAK will do the decorations. They are the ones who make us look pretty. We like them a lot. Sometimes they are a bit slow with emails. We are probably too demanding, but we do it to ourselves too. Shout-outs to Jaka Neon, Mique M. Praktik and Don’t Call Me Urška! PUST, MOTHERLOVERS!
PUSTNI SMETNJAK x SNUFF CREW
SMETNJAK x KiNK
Smetnjakov večer na isti dan kot 1. slovenska vsesplošna vstaja naroda (če konec sveta za trenutek odmislimo)? Eno tistih neposrečenih/posrečenih sovpadanj. Tega nismo izbrali, a sprejemamo izziv.
Smetnjak ni after demonstracij, še manj so demonstracije warm-up za Smetnjak. Big dumb techno party kot poskus brendiranja revolucije? You know us better than that. Protest nadaljujemo v K4, a ga tam ne končamo. Kot ga ne bomo začeli na Kongresnem trgu. Shod ni katarza, lahko je le porast intenzivnosti. Ni točka, in če je, potem je le ena izmed neštetih, ki tvorijo premico. Mikropolitika se odvija na nivoju vsakdana in sprejema ukrepe, kot je ukinitev guest liste, zaprtje backstagea. Priznavamo enakost, a jo zato tudi zahtevamo. Na mikroelitah, ki širijo korenine, da bi se dvignile nad ostale, ne zapravljamo svoje milosti. Naša intenzivnost se daje kot molekularna jeza ali kot bratska ljubezen. Radi bi, da bi bil Smetnjakov večer izbruh slednje. Tistim, ki vztrajajo na politični nekorektnosti partija, sovpadajočega s protesti: slogan “Nekoga mora biti sram” nosimo že nekaj časa. It’s your turn.
Gost večera: KiNK. Po besedah Smetnjakovega člana: “Še vedno je otrok, ki se rad igra z vsem, kar mu pride pod roke, o čemer nazorno pričajo njegovi številni spontani youtube videi. Vzame nekaj, kar naj bi se uporabljalo na tak in tak način, ter to obrne na glavo. Eksperimentira na polno, a je njegov zvok še vedno plesen, club friendly, in brez tistega chinstroking faktorja, ki je tako zelo odbijajoč. Ja, KiNK je demokrat, ne elitist.”
SMETNJAK x JOHN MAUS
Ena ura, en sam plan, en monolog, črički (škržati?) in veter kot soundtrack, youtube posnetek na velikem platnu. Anti-spektakel, ki prej povleče na Johna Cagea, a ta pripada drugemu glasbenemu postopku resnice. John Maus o the old guys: »They are great and we should enter into a conversation with them, but they didn’t grow up watching E.T.« Zavest, vzgojena ob Živ Žavu in nato priklopljena na internet, požira le byte-size – 3-minutni komadi, članki kot slikanice, filmi brez tišine. Ko thrill popusti in zaslutimo napor, sežemo po miški ali daljincu. Kaj nas zagrabi v plitvinah koncentracije, med besnim, a bežnim procesiranjem podatkov in resetiranjem spomina? John Maus stavi na pop in spektakel: estetsko sublimnost robota, ki se dviga iz plamenov, kofeinsko maničnost zvoka, skompresirano v verz in refren. Radikalni potenciali popa. Smetnjakova metoda se postavi pred ogledalo.
Projekcija video intervjuja z Johnom Mausom: 22. november ob 20h @ Kiberpipa (kinodvorana), Kersnikova 6, Ljubljana. Vstopnine ni. Facebook event.
Keywords: television, twitter, facebook, Socrates, punk rock, visibility, Sex Pistols, Nirvana, Lucifer, Minnesota, New Deal, Ronald Reagan, spam, solitude, Ariel Pink, work, postmodernism, dialectic of enlightenment, caricature, inhumanity, The Invisible Committee, OWS, Abu Ghraib, Hunter S. Thompson, State, horror, record store, society of spectacle, Guy Debord, genre film, James Cameron, Terminator, sublimity, contemporary art, Neveldine/Taylor, Crank: High Voltage, decentered subject, Gilles Deleuze, Luciano Berio, Karlheinz Stockhausen, Theodor W. Adorno, Arnold Schönberg, G. W. F. Hegel, Ludwig van Beethoven, Immanuel Kant, Joseph Haydn, dubstep, music journalism, Simon Reynolds, Slavoj Žižek, Richard Wagner, Alain Badiou, Quentin Meillassoux, Simon Critchley, Bill and Ted’s Excellent Adventure, Sigmund Freud, Jacques Lacan, pop theory, Gary War, thumbs up, thumbs down, wikipedia, string theory, biopolitics, Jean-Luc Nancy, Maurice Blanchot, E.T., Giorgio Agamben, Martin Heidegger, Greil Marcus, Friedrich Kittler, Avital Ronell, sense, materiality, EGS, Wolfgang Schirmacher, grad school, publishing company, cultural signifier, celebrity, Jay Bernstein, H. S. Harris, misanthropy, Jacques Rancière, F. M. Dostoyevsky, everyday life, St. Francis, The Psychic Warfare, virtue, Funny Farm, experience, bureaucrat, exception, sweet dude, radical, pragmatism, charity, Søren Kierkegaard, pig, Police, Cops, THX 1138, George Lucas, infinite multiplicity, wager
PUSTNI SMETNJAK x CANBLASTER
Cédric Steffens odrašča v Douaiju, blizu Lilla na severu Francije. Šolani pianist v elektroniko skrene po poti videoiger: Sega Saturn ga okuži z glasbo in sound designom. Sprva sklada kar na PlayStationu. Njegove kompozicije so hitro opažene – čeprav zložene na konzoli, pravice zanje kmalu odkupijo za uporabo v videoigrah. Ko preklopi na Fruity Loops, so na heavy rotationu Prodigy, Cassius in predvsem Basement Jaxx. Nato razišče Detroit, Baltimore in UK ter se ponovno vrne na Japonsko k Yuzu Koshiru, komponistu Sonica the Hedgehoga in Streets of Rage. Z drugo francosko revolucijo, ki ustoliči Justice in Ed Banger, Cédric sestavi prvi komad za klubska plesišča. Kmalu zatem združi moči z Mydom, Samom Tibajem in Panterosom666 – rojen je Club Cheval. Druščina, ki v začetku 2010 izda istoimenski EP debi s po eno skladbo vsakega, do koncu leta že prebiva v Parizu in izdaja na najbolj vročih založbah. Na čelu kartela, ki postane vsesplošni hot tip blogov, je Canblaster. Briljira z igrivostjo, ki se prehiteva s kompleksnostjo kompozicije, neugnanimi remiksi, ki pozabljajo originale, ritmičnimi in harmoničnimi paradoksi s smislom, ter breakdowni, dropi, dizalicami in klimaksi, ki tvorijo glasbeni jezik, ki spominja na vse in nič hkrati. Ko Canblaster v remiksu Drop The Limeovega komada Hot as Hell izvede manever, ki ga kasneje poimenuje »žepni Enio Morricone«, se znajde v epicentru hajpa. Sledijo komad Clockworks, EP na Marble, remiksi za Ruska, Erola Alkana in Boys Noize, The Counta in Sindena, kolaboracije s Crookers, Ritonom in Mumdance, Club Cheval predelave za Underworld in Birdy Nam Nam. Canblasterjev zvok povzame garage, grime, 2-step, ghetto-tech, old school electro, 90ies R&B, new jack swing, japonski pop, eurodance, happy hardcore, Jeffa Millsa, zgodnje The Prodigy, Ballroom, Todda Edwardsa, LFO, celoten seznam z Daft Punkovih Teachers ter brezmejne virtualne poljane videoiger in tako ustvari histerijo, ki se diabolično približa izkušnji, imenovani »zdaj«. Kot 4chan na kokainu.
Boys Noize & Erol Alkan feat. Jarvis Cocker – Avalanche (Canblaster remiks)
Canblaster/Schlachthofbronx – Wave And Wine (Canblaster & Myd Remix)