Ice-T. Crossover. Thrash. Speed Metal. Rap Metal. Hardcore. Cop Killer. LA and California. Suicidal Tendencies. Bad Brains. Dirty Rotten Imbeciles.
I was giving one of my condensed and erratic histories of music to Gala when she was here, enthusing very hard about D.R.I. and their still fucking brilliant album Crossover and how important it was in this moment of punk getting harder and heavier and metal getting faster and thrashier and meeting in that album, playing her Five Year Plan, maybe from Live at the Ritz and Body Count was there in the sidebar. Body Count! There Goes The Neighbourhood. I have not listened to this goodness in years.
Coming back from my ride today, all along Columbiadamm and Flughafenstraße were billboards for their new album, Carnivore. They cover Motörhead. Fukken 🤘🏿❌💯💯💯.
Big news!! Its with great pleasure that I wish to announce that I’ve been named a 2018 Sidney Myer Creative Fellow, one among 8 exceptional artists. This prestigious biennial award seeks to provide support to a group of mid-career artists (across all disciplines) and arts workers, who are judged by a panel of national peers as demonstrating the qualities of “outstanding talent and exceptional courage”. I’m honoured to receive this support and recognition of my work, and doubly so to share it with such an outstanding cohort which includes 3 #FirstNations artists: myself, Merindah Donnelly and Jonathan Jones. I was nominated for the fellowship by @emmmwebb and refereed by @hettiperkins, two forces of nature who humble me with their support. My thanks to them, to the Myer foundation and to the panel. 🙌🏼🙏🏽💥🖤💛❤️
The reason I’m in Australia for the first time in a decade, and in Naarm (Melbourne). Stone Tape Theory, the work Onyx Carmin / S.J Norman was making in Adelaide just after I first met them. (And Rest Area, which was last week.)
The Warehouse in Arts House is being blacked out until no light leaks in, and rigged with 12 speakers simultaneously playing 12 slowly degrading cassette tapes on 12 slowly deteriorating portable cassette players. For the second week of FOLA Festival of Live Art, from Wednesday until Sunday, we’ll be joined by Virginia Barratt, Carly Shepard, Mykaela Saunders and others for 6-hours of dredging memories onto tape.
Taking its title from an obscure paranormal hypothesis, Stone Tape Theory mines the haunted terrain of memory, mediated through sound. In a darkened space for six hours a day over five days, a relay of performers utters an unedited stream of their own associative memories, recorded onto multiple cassette tapes. These thoughts range from descriptions of ordinary events to detailed reconstructions of painful, traumatic life experiences. As one tape plays, another is erased and re-recorded, creating loops of increasingly layered feedback.
Visitors find and lose their bearings in the darkness; fragments of narrative surface and disappear in a seething wash of sound. From flesh to speech, Stone Tape Theory is an audio palimpsest; an evolving sonic landscape of disembodied voices, continually rewound.
North Melbourne Town Hall
521 Queensberry St,
4–10pm, Wednesday 21 March
4–10pm, Thursday 22 March
4–10pm, Friday 23 March
4–10pm, Saturday 24 March
12–6pm, Sunday 25 March
Duration: Enter and leave as you please
I was banging out to Iron Maiden at Wacken last night, live-streamed on arte. It was fully metal. 80,000 in a rain-soaked and muddy field so loud they drowned out Maiden’s amp stacks. Around 11:30pm in their encore, Bruce Dickenson is doing his intro for Blood Brothers, “… it doesn’t matter what religion you are, doesn’t matter what race you are, doesn’t matter what gender you are …” pauses there then says, “there used to be two, now there’s a few more.” Fucking majestic. Iron Maiden, at Wacken, in front of 80,000 metalheads and live-streamed to the world, saying that. Followed it up with “we’re just here to drink beer and headbang! Plus brown rice!” Then Nicko McBrain led everyone in a round of Happy Birthday for Bruce.