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Remnants 2

I woke up this morning in the new apartment, walked through the maze of boxes and the provisional kitchen (made in the main corridor) to get to the toilet and was reminded of spring 1995.

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New Orleans:

J and I had been living with his adopted father in a large loft type of apartment with a monster balcony lined with floor-to-ceiling french doors on St. Mary Street in the Lower Garden District. We needed our own space and so J spoke with his friend, Neil a queen in his late 30’s who owned a small antique shop that had just transferred to a new location on Magazine Street (from his old place, an old defunct Movie Theatre down the block). He filled the bottom storefront portion with 1940-50’s designer glass, lamps and chairs (most of which I’ve now come to realize were actually quite nice pieces), and the upstairs was being renovated into an apartment. He split the upstairs into two large sections and rented us the back part.

The building was not zoned for living, there was no shower, no kitchen, a simple toilet hidden behind a partition on the ground floor. The stairs were a built ladder that went straight up. Our part of the apartment also had a back exit but no stairs, so if Neil had to lock up the building with the padlock (to which we had no keys for) we would have to jump from the upstairs back exit onto the parking lot behind us. There was only a simple metal cooking plate for a kitchen so we mostly ate sandwiches.

Neil was a rather good looking man but tragically narcissistic in the clinical way. J’s dad worked in mental health and showed me the DSM IV breakdown to which Neil fit well. Every conversation with him no matter what it would be about was somehow brought back to how great or witty or interesting Neil was. He was also a pathological lair, even about small details that made no difference. If you were to meet him, he’d first be very charming, but soon one would find themselves being constantly put down to make him feel better about himself. His shop was badly tended to and he owed everybody money. He would spend any he had on cocaine and ketamine, which was especially ridiculous because he was also a narcoleptic and fell into spontaneous seizures. In order to get the shop running he stole electricity. There was no phone and no hot running water until it was put in along with a plastic shower cabin after a month of living there. He justified his shop by opening it for a couple hours once or twice a week and talked about how he only dealt with private customers who I never saw.

The upstairs part J and I shared was a giant open room that Neil had to walk through from the ladder to get to his place. It was dark and there were big gaping holes in the walls and it was always somehow wet and stale. We slept on a futon and the rest of our things were in boxes with the exception of a big work table that shelved J’s stereo system that perpetually played The Unreleased Hellraiser Themes by Coil.

Neil had a boyfriend, we’ll call him Andy (I forgot his name). He was a young red-haired yat from somewhere outside the city. We all lived in this building together for about a month and a half until one day J and I came home to find his stereo missing. Neil was downstairs freaking out about some missing pieces in his shop. It finally came out that Andy was a crack addict (which explained the strange metallic smell floating through the upstairs) who would occasionally give Neil the smackdown. This time however Neil left and while gone, Andy packed up some of the good things to sell and took off.

We lived there for about two weeks longer before the police came to throw us out. Apparently Neil had not ever paid the rent – surprise! Neil disappeared for some time after that while J and I went on to have other misadventures. I saw him once later having a seizure on the floor at a bar I worked in. After it was over he got up and went to the bathroom for a few minutes, came out and tried to order another drink. The bartender wouldn’t serve him so he got upset and went across the street to another bar.

Just a funny little anecdote to get you through the day.

Omens

Because we are in the process of moving to the new space the internet is due to be out for a while. The new apartment/studio is about half finished. It’s been a long grueling renovation lead by baumeister maurus who can stand tirelessly on a ladder for days. As soon as everything is where it belongs we will get into a nice gallery presentation of this process.

The next and last update for nevec red this spring/summer will be on June 5th for the video Ever, with a pre-listen on May 30th.

We are pleased to announce the release of nevec red’s first album:

null | available June 21, 2010

Corridor 2

This evening I began experimenting with layers of stringed instruments and flutes in a small exercise of pairing them together. It began with a series of inverted fifths played in synchronization as quarter notes in the C2 and C4 registers. Each note represented Violin II, Viola I, Viola II, Violin Cello II, and Bass II. I then layered another series for Violin I, Violin Cello I, and Bass I. I choose to not put the Bass octave to Violin Cello but as the dominant of the inverted fifth chord – mainly because it sounded cool. The overall sound came off something like what one would hear from the strings in the opening credits of a Peter Greenaway film.

On top of this I layered Flutes I & II bouncing off in arpeggios every second measure in the C4 and C5 registers at 8th notes. To hear how these parts communicate to each other, even in this simple form is exciting. The exercise constructed itself in a way that I could never wrap my head around before and changes everything about how to go about writing. I haven’t even begun writing for instruments like harp (totally kickass mechanism behind it) or brass, or throwing in expression or spacial arrangement but my mind is already in the clouds with this experiment. I want to open the window and scream out to the world, “I’M SWIMMING IN IT! I’M SWIMMING IN IT!”

It’s very difficult to calm back down to practicing piano this evening. How could I possibly? There’s so much colour and resonance to explore – a new language to evolve with all these incredible timbres that won’t end with what’s in the books. They will melt with walking down the street and merge with philosophical conversations with smart people and dumb people and what then when it meets video? It’s bio-fucking-chemistry all over again!

Cocorosie

Last night I went to see Cocorosie with maurus at the Admiralspalast. I’ve heard so much about them in concert and already appreciate their albums, so I was really looking forward to the experience.

I really liked the show. Cocorosie have of course a distinct style (that may have been polished up through the countless tours). The visuals were very nicely done composites, but to be completely fair I felt they were just a little too repetitive and could have had just a touch more put into them. Seeing this concert I am reminded a great deal of the post-modern art bands of New York City, (and to a lesser refined degree those of Chicago). They were having a lot of fun and it projected out into the audience who in turn were having a lot of fun. That is what it’s all about. It’s something that can’t be faked or digitized.

I studied this show and came away with a few bits of inspiration to develop upon. One thing that stood out was their use of a beatboxer. Seeing that live after making YOU WORK IT and studying Björk’s VOLTA album, I can say that man-made percussive sounds moved a bit closer to my heart. Another thing was the overall feel to the evening. The show wasn’t completely streamlined and slicked down to predetermined pantomime – a little dirty and raw is exactly what was missing from the Fever Ray experience. As a matter of fact I hope they don’t elaborate on the video, it was just fine.

Much love to the girls and thanks for a great evening. I’m really looking forward to the new album!

Unfortunately I forgot to enable the audio record on my phone for video. For those of you who do not know Cocorosie, here is something to hear/see.

Remnants 1

Today I saw my old apartment for the last time. The guy who took it happened to also be the first person to see it about a month ago. This month is going by so fast that it’s difficult to remember packing and moving.

It will be very nice to have everything finally in one place soon, which will eliminate the 3+ hours spend per day in transit with a heavily loaded backpack on. My right shoulder is finally starting to heal and not hurt anymore. There will no longer be that irritating little moment when I realize, “Oh shit, <random object> was left over at <random place> and I must go back now and retrieve it!”

Next month is full of rehearsals for the play Georgie that I will be performing in at the 48 Hours Neukölln Arts Festival with three musicians and one other actor. It is composed and written by Troy Spencer who is in the band. Luckily the practice space is down the block from the new apartment. I will be the narrator of the story. It is about the ghost of a dead child living in the mind of his suicidal mother.

Because of everything going on there is no time to prepare for the Nevec Red Summer Solstice live performance and therefore I am left with the unfortunate decision to cancel it. It’s better to put on a fantastic Autumn Equinox than to give a subpar summer show. The next nevec red show will be September 23, 2010 at 5am (Berlin Central European Summer Time) | September 22, 2010 at 10pm (Chicago Central Standard Time).

Corridor 1

It took a couple days in between working on other things to get through Chapter 1: General Review of Orchestral Groups in Nikolay Rimsky-Korsakov’s Principles of Orchestration (translated by Edward Angate). The book also has an Editor’s Preface, plus two more from the author.

Just about every paragraph requires time spent on the internet looking up the definitions to terms and then searching for media that demonstrates them. Mr. Korsakov has a likeable approach to explaining how the instruments sound at each register and with each other. The adjectives he uses are relatable when hearing them in my mind. This is a book where it’s very helpful to visualise while reading.

It is only the beginning, but I find it enjoyable to learn these things. Last week I began Chapter 1: Note Against Note from the Alfred Mann translation of Johann Joseph Fux’s Gradus Ad Parnassum but had to put it down. It is a very technical book that speaks to a person with a much higher education in music theory than I. The only way to get through is to understand the basics of chords by name to figure out which are appropriate for each other in writing proper Counterpoint. It’s all very interesting but also very heavy for me to grasp without getting tired. I’m picking it back up while the dust settles from the Orchestration Chapter before moving forward to Chapter 2.

Teatime

Tomorrow I meet with the apartment manager and the guy taking over after me to sign the final things and then on saturday we move my stuff to the new place. Everything is nearly packed and ready to go. I will spend the rest of tomorrow after our meeting finishing up.

I took down the cube lamp hanging in the living room. It was a housewarming gift which I really love. While coming down from the ladder I felt a sentimental pang. Another chapter closed as I looked at all my things in boxes and reflected on how happy I was to get this particular apartment. I never spent as much time at home as I’d have liked, but it always waited for me nevertheless. It was really nice to be there.

However, I’m only crying with one eye. The new place is much better. It has charm and taste and is exactly where I want to be on many levels.

I decided to walk home. It was raining out and the big trucks splashed me while driving by. Everything was in my way and wet, but I enjoyed it. Ever since going through a John Cage phase I’ve stopped listening to headphones while out and about. I heard the traffic and rain and thought about relief from dissonance.

Upon getting home I jumped into a ten minute freeform session.