Shoot a telescope

"back sweat at the party / 
eleven beers in the carpark /
i'm not a good person / 
but i'm trying to grow"

mid-life mania. 87 Give Up EP coming christmas 21

St Lukes Freakout Tuesday 3pm

CUD refers to the chewing-over-again of partly digested food eaten by ruminants (animals like cattle, sheep & goats). To ruminate is to think, or dwell on a thought repeatedly – as a creature throws up its meal only to chew it over again. 

CUD is a sonic collage intent on reanimating (& ruminating on) a range of ferally scavenged archival media: advertisements for Aotearoa’s meat, milk & farming products; radio cooking shows; queer local cinema; the violent semantics of authoring sound effects; & the hauntological grief of a dance only heard, not seen. The work seeks to explore relations between reproductive/nonreproductive & human/animal bodies, their associated technologies & byproducts through repurposing archival media. 

CUD seizes on what Mel Y. Chen refers to as ‘leakages’ between classifications of what is human & what is not, with an emphasis on the idea of “naturalness” & its other, the “unnatural” – a term frequently deployed in reference to queer sex & reproduction. CUD asks you to lean into the leakages, to reiterate & invert them – irrupting the smooth semiotic surface of naturalness’ normative containers.

The word ruminant is derived from the Latin rumen, meaning ‘throat’ – the site of both the voice, & the breath. The recorded singing voice featured at the end of CUD is that of the only Castrato singer ever recorded, Alessandro Moreschi, singing Tosti’s Ideale in 1902. The dancer you can hear panting & stomping is Douglas Wright, dancing Elegy, a piece made in 1993 for his friends who died of AIDS. Spliced together – with reverence –  across almost a century, they offer a surrogate lament regurgitated from a gender-bent throat.

CUD opens with an invitation to see, perhaps in line with Barthes’ dictum that to see well, you must close your eyes. I wonder then, if to hear well, one must close one’s ears, or perhaps lean into sounds of the errant, the monstrous, the distorted: the unideal. 



Ideale  (Tosti, 1882; translated from the Italian) 

I followed you like a rainbow of peace
 along the paths of heaven;
 I followed you like a friendly torch
 in the veil of darkness,
 and I sensed you in the light, in the air,
 in the perfume of flowers,
 and the solitary room was full
 of you and of your radiance.
 
 Absorbed by you, I dreamed a long time
 of the sound of your voice,
 and earth's every anxiety, every torment
 I forgot in that dream.
 Come back, dear ideal, for an instant
 to smile at me again,
 and in your face will shine for me
 a new dawn.
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Frances Libeau (they/them) is a queer Pākeha interdisciplinary artist. Their sonic compositions, sound designs, & writing feature across live, screen & digital platforms of contemporary music, fine art (film, sculpture & performance), film (feature & short), theatre & dance. Libeau’s work often explores the textural & semantic possibilities of storytelling through sonic collage of found materials & possibilities for queering sonic & compositional & archival practices.
https://iecrazy.com
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For more like this go to www.pyramidclub.org.nz

With thanks to Creative New Zealand for supporting this work

CUD - Frances Libeau

Recorded at the Second Ave Sleep-out and Bach 62 
By Maggie Magee with Alexander Knight 

Drums ~ Catherine Cumming 
Noise guitars ~ Sean Kelly 
All else ~ Maggie Magee 
Mixed and mastered by Sean Kelly at Bach 62 

~ ~ ~

There is an incident on the edge of town; all the local lawnmowers drown it out. Brown paper bags barricade the drain; white feathers turn grey in the rain.

It doesn't take a full room to be crowded out!! 

I saw something on the green; something caught beneath the wheels; and a body smiling shouts - it's ONE MORE IN & ONE MORE OUT.

Looking back on all those teenage nights; two of us the small ones were forced to fight... walking home from school; black hair on the grass, she doesn't say a word, she only runs as fast as she can! 

It doesn't take a full room to be crowded out; it doesn't take a full moon to act insane.......

I saw something on the green; something caught beneath the wheels; and a body smiling shouts - it's ONE MORE IN & ONE MORE OUT....

In the passenger seat, there's a hanging head; as though it's attached to a taut and jerking thread. There's a shop en route that sells mannequins... 
I will take one home 
just to eat with it.


An Incident on the Edge of Town

Dress & plate the buttered beast
The meat turns bitter for the feast

words & voices - i.e. crazy
rest - shab

recording - joshua lynn, shab, i.e. crazy

Grotesque (October Skin)

"Evils Face" by Log Horn Breed.

Taken from the forthcoming split 12" with girls pissing on girls pissing, due for release August 2016 through MUZAI Records.

http://www.facebook.com/LogHornBreed
http://muzairecords.com

Log Horn Breed - Evil Faces

"The Great Disappointment" by Girls Pissing on Girls Pissing.

From the split, "Split", with Log Horn Breed, out (officially) August 19th 2016 through MUZAI Records.

(c) and (p) Girls Pissing on Girls Pissing 2016, under exclusive license to MUZAI Records.



Girls Pissing on Girls Pissing - The Great Disappointment

"Lustration, (from Latin lustratio, “purification by sacrifice”), any of various processes in ancient Greece and Rome whereby individuals or communities rid themselves of ceremonial impurity (e.g., bloodguilt, pollution incurred by contact with childbirth or with a corpse) or simply of the profane or ordinary state, which made it dangerous to come into contact with sacred rites or objects. The methods varied from sprinkling with or washing in water, through rubbing with various substances, such as blood or clay, to complicated ceremonies, some of which involved confession of sins. ."

Girls Pissing on Girls Pissing -  Lustration

Rising

TW: murder, abuse, child abuse 

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Recorded at New Bond Street by Maggie Magee & at Wine Cellar by Rohan Evans. Mixed & mastered by James Goldsmith.

Country Justice

Jamboree

As it stands………..I am turning the wheel
As it stands………..there’s nothing left here for you to steal
As it stands………..I haven’t seen you for weeks
As it stands………..you’re doubling through these sewer stained streets
As it stands………..I shoot it down, you know you don’t mean a thing
As it stands………..I step slow motion from the flaming machine
As it stands………..you know that I don’t want it to die, but
As it stands………..I know I’ll never leave this alive

It’s got nothing to do with you
Just the fear of forgetting
The bodies & nights that I’ve been used
& I used you too
……………….......……..like a cheap perfume

As it stands………..the only teacher is time, but
As it stands………..this lesson will be my whole life
As it stands………..I know that it is all in my head, 
As I stand…………..a rising escalator to a cliff edge, &
…………………….........I know I’m being obvious, a whale on the beach, but
As it stands………..we both know who is wearing the leash
As it stands………..I’m walking with my head in my hands, just
…………………......…...waiting for the moment when you stab me right back

It’s got nothing to do with you
Just the fear of forgetting
The bodies & nights that I’ve been used
& I used you too
……………………..........like a cheap perfume
……………………...........like a blow-up doll in a backstreet brawl
……………………...........like strangers sharing a bathroom stall
……………………...........gives me panic stabs from a casual glance
……………………...........gives me swollen glands from uncertain chance
……………………...........& I’m seeing stars in a boxer’s hand
……………………...........a one-night stand with a pension plan

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Recorded by Maggie Magee between Tāmaki Makaurau & Ōtepoti, Aotearoa/New Zealand, & Leipzig, Deutschland/Germany.
Mixed & mastered by James Goldsmith.
Written & produced by Maggie Magee, with exception of featured samples from the films "Like Crazy" (2011), "Titanic" (1997) & "The Bitter Tears of Petra Von Kant" (1972).

As It Stands

i.e. crazy

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