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I first heard the music of jenghizhan (aka John Parker) at the Brooklyn space vertexList, and described it enthusiastically here as "mysterious, sexily-filtered ambient industrial keyboards." He has since posted those performances on this page of his website, as "live improvisation with the Elektron Monomachine." Track 4 is one of my favorites, and I did a "remix," consisting solely of lopping off the intro and cutting straight to the monster, four-note hook that first grabbed my attention: [4.7 MB .mp3].
Later I heard him perform with Man from Planet Risk, his duo with Cave Precise (Ron Ramey), both in a live club setting and on CD. In a post on the band I commented on the differences between their live and studio sounds:
For all its echo-y horror soundtrack atmospherics and Black Sab-like bass riffs, the CD is much lighter [than the live playing]: the beats are spryer, with turntable twists & jazzy piano riffs livening up the doom and gloom. "Triphop" comes to mind because the sound is truly trippy: jenghizkhan approaches music like a painter (and is in fact a visual artist, exhibiting under his non-nom de plume), taking advantage of all the filtering and timestretching capabilities of modern keyboard tech to make layers of artfully mangled sound. Imagine Ennio Morricone eclectism shot through with the kind of dreamy, smeared psychedelia of San Francisco post-punkers Chrome, or the European hardcore tech of The Mover set to a hiphop beat.Since then, I've listened to jenghizhan's solo CDs Hooden Knooks and Brooklyn Sucks. It's great stuff, what the late lamented Throb records would file under "braindance" and what I would call "art electro." By way of comparison, I went back and listened to the Ischemic Folks compilation, which many considered a watershed for this kind of intensely digital electronic music, and found I like jenghizkhan better. Except for a couple of lush Richard Devine compositions, the IF CD is brittle and analytical, with too much of the Miami Bass parent DNA decanted out in the name of art.
Mixed in with jenghizkhan's trademark doomcore riffs one hears a lot of humor, and a strong melodic sense even when he's furthest out there in the drill-and-bass, sound-bending zone. As audio abstraction it's more frenetic de Kooning than faux-febrile Richter, and for all jk's insistence on "modern digital synthesis" over retro styles and sampling (more on this soon), his compositions have the verve and warm texture of early analog and tape recorder music (e.g., Mario Davidovsky, Otto Luening, Richard Maxfield), as opposed to the rather cool "glitch" sound of Oval, Phoenicia, et al. Check out these tracks from the CDs: "Sidewinder Circus" [1.4 MB (excerpt) .mp3], where the digitally scrambled phrase "sidewinder heat-seeking missile" sniggles in and out of overdriven-soundcard-like raunch, and "Outlet Nightjar" [ 3.56 MB .mp3], in which a synthetic bowed string keeps sounding the same ridiculous note in counterpoint to a heavily reverbed pseudo-guitar.
[coming soon: Part Two--how Man from Planet Risk differs from jenghizkhan solo work, and a discussion of gear]
If I'm sympathetic to the New Dumb Little Painting genre it's because I've done my share of them over the years. Here's one from '91: Rot Gut, acrylic on canvas, 10 X 8 inches, currently hanging in the Louvre in Paris, France.
Today is my last day reBlogging for the Eyebeam reBlog. Tomorrow the Eyebeamers will introduce my successor, Tim Shey, who will take it from here. After three weeks monitoring about 100 blog feeds and reposting 15-20 items per day (often with added pictures, text, or gratuitous comments), I would now like to articulate my personal reBlogging philosophy--hopefully you're sitting down. Here are my thoughts, for future reBloggers (and reBlog readers) to take or leave:
1. reBlogging is definitely an art, somewhere between curating and editing. I believe the Eyebeam reBlog can be as important and genre-defining as any of the major umbrella tech sites, umbrella art sites (if those existed) or heaven forbid, regular news sources, as long as original material from a pool of steady dedicated bloggers is given equal weight to clips. The purely anecdotal has value, as does free lance reporting. Accordingly, I tried to emphasize unique, personal blog writing and research over news items recycled from big media sources. By and large I did not reBlog slashdot, boingboing or kottke, assuming that most people were looking at them anyway. I also avoided the major media feeds, such as NY Times, Yahoo, Wired, for the same reason.Because of the rotation system, personal guidelines such as these won't harden into rules, resulting in the "soft bigotry of voluntarism." I look forward to following the reBlog after I Ieave, and invite everyone to visit my personal blog, where posting is about to increase markedly. I'll probably reBlog a few more items today, but wanted to get this up.
2. I favored items with text or pictures over blind links with pithy 3-word captions.
3. I tried to keep a balance of tech and art writing.
4. I included a heftier dose of politics because the major media are failing us in that regard and we have to do what we can.
5. I added a few feeds where people are posting original art to the Web: Look, See; SCREENFULL; Wooster Art Collective.
6. I was disappointed in the music coverage out there. A lot of electronic dance bloggers, for example, don't have RSS feeds or seem to be in a post-coital slump after they all found and linked to each other about two years ago.
[Obviously this was written with self-reBlogging in mind.]