Text & Photos via The Vinyl Factory
A gallery of images taken from new limited edition monograph portraying the life and work of pioneering artist, musician and body evolutionist Genesis Breyer P-Orridge.
Born Neil Megson, reborn as artist Genesis P-Orridge and reborn once again as a gender-erasing pandrogyne, the life and work of Genesis Breyer P-Orridge has been defined by transgression and experimentation. A daring performance artist who founded the radical collective COUM Tramsmissions, P-Orridge would go on to front the cult anti-rock outfit Throbbing Gristle, whose abrasive sound helped form the emerging genre of industrial music in the late 70′s. Exploring the roots of h/er sexuality within the 80′s Modern Primitives subculture and the Psychic TV collective, P-Orridge translated a fascination with fetishism and ritual into a powerful statement on the nature of body politics.
Manifested as pandrogeny – or the “third gender” – P-Orridge’s life and work have always been inextricably entwined. A body of work in the most literal sense, photos and artworks from the last forty years of P-Orridges output have now been collected in a high-end monograph that confronts h/er controversial and powerful images head on.
© Sheila Rock
Holy Things are For the Holy, the latest EP from Ontario grind/noise collective Column of Heaven, is about as subtle as a spoonful of steel wool. It’s a slow, painful bite and an alarming swallow. It travels throughout you, leaving scars and marks, and coming out unchanged; but fully changing you.
Here is a brand new visual from THEOLOGIAN that will take you to a place full of dark desire. “Welcome to the Golden Age of Beggars” is the song title, taken from their brand new CD SOME THINGS HAVE TO BE ENDURED out now on CRUCIAL BLAST. THEOLOGIAN’s music knows how to find the beauty in the torment in our minds that we do not want to face. The video, directed by Gretchen Heinel, fits perfectly with the song. Enough of me talking – just press play and fall into the abyss…
Magick. Motherhood. Pain. Suffering.
Blood. Tension. Nausea. Desire.
Obsession. Addiction. Loathing. Violence.
The loss of hope. Unfulfilled dreams. Unhealed wounds.
Insect Ark released her Long Arms EP earlier this year via Geweih Ritual Documents, and her haunting drone compositions captured a global audience for this Brooklyn-based musician. CVLT Nation is honored to premiere Insect Ark’s video for the eerie track “Symbols,” check it out below along with a few upcoming tour dates!
Fuck yeah, the art of Philippe Caza is is one gigantic pill of epicness! The color that flows out of his imagination is fucking amazing. This French Sci-Fi master has influenced many illustrators in the heavy scene. On a personal level, I just can’t get enough of looking at his art, because it inspires me and takes me back to my childhood. Philippe Caza’s work with Metal Hurant and all of his pieces from the 80′s will stand the test of time. Today CVLT Nation would like to paint the universe with Caza…So peep a huge gallery of his art trip out as your mind starts to melt!
Photo via Impose Magazine
We recently reviewed Dreadlords‘ awesome demo tape, and if you haven’t checked it out yet, definitely go do so. It’s a stunning collection of apocalyptic delta blues infused with the menace and spirit of black metal, and it fucking rules. Here’s a new video of Dreadlords carrying on the age-old tradition of storytelling blues with a haunting murder ballad about slitting your parents’ throats, setting churches ablaze, desecrating graves and nailing Jesus’ ass to a tree. ‘Born Into The Arms’ was filmed at the Union Pool in Brooklyn as part of the CMJ 2013 Fest – in stark black and white, no less – and proves that when you’re this good, you can rock nothing more than a banjo, a two-piece drum and a microphone and create some truly unsettling shit.
Haunted Horses are a trio from Seattle, Washington who play impossibly eerie, dark post-punk. Watcher is abrasive, dissonant and unsettling; full of rumbling tribal drumming underneath ominous synth drones and piercing, trebly guitar picking. Where many death rock and post-punk bands adhere to what are essentially pop song structures and tropes – albeit dark versions of such – Haunted Horses definitely draw their influence from the opposite end of the spectrum.
These tracks are free-form and impressionistic, steering well clear of anything even closely resembling new wave in favour of hypnotic marches and schizophrenic song structures that veer wildly from robotic repetition to explosions of volume and dissonance and back again just as suddenly. Eschewing the bass-heavy melodicism of other post-punk acts, these tracks have a nerve-shredding obsession with higher frequencies and atonality played off against drums that can come off as both tribal and organic and robotic and completely off-kilter. The vocals, too, veer wildly, from a flat apathetic drawl to harsh hollers, but they always sound distant and mostly are all but consumed in the cacophony of the instruments, like a ghostly afterglow adding yet more menace to the proceedings.
GILA MONSTER JAMBOREE: This gig, January 5, 1985, 100 miles out into the Mojave Desert, was our first “L.A.” gig, first time we’d played on the west coast, part of an airplane tour from Seattle on south. That picture of us “in the back of a Chevy” on the Death Valley ’69 12-inch is also from this trip. The gig was organized by one Stuart Sweezy, now of Amok Press (check it out!), who had this penchant for strange locations — Minutemen and Meat Puppets on a barge on the S.F. Harbor, another desert gig with Einsterzende Neubauten… your ticket entitled you to a map to the gig site which was not handed out until the morning of the show (to prevent scans). Else you could buy a place on one of the buses hired to transport those transported souls with better things to do than cope with the road. The gig started early in the day with Psi-Com, which featured a barefoot Perry Farrell skanking in the sand and waxing poetic. Redd Kross followed, and by the time we went on it was about twilight. These songs were mostly brand new at the time, from the as-yet unreleased Bad Moon Rising LP. We’d waited a long time to make it west, and this was a pretty perfect introduction. Bob Bert was on the drums with us at the time. The cover photo, by someone named Alan Peak, all trails and blurr, sums up the occasion quite well. Band portrait by Naomi Petersen. This video was shot by the folks at Flipside Magazine. After us came the Meat Puppets, who played on into the night as the desert cold set in, under a big ring around the moon.
Check out the new video from CORRECTIONS HOUSE called “Bullets And Graves” from their album Last City Zero, out now on Neurot Recordings. In a time when music is coming out at a rapid rate and lacking depth, this band has flipped the script. I really hope people stop and listen to CORRECTIONS HOUSE, because they are making sonic art that will stand the test of time!
Splits are a funny old thing. One side might be terrible, one side might be great, the other side completely overshadows the other, both sides might be awful, neither side makes any sense when put with the other or, in the case of this Botanist and Palace of Worms split, both sides might be complete polar opposites and yet somehow perfectly in sync at the same time. It’s some kind of magic.
The two artists behind this release have been in talks to do something together for a while (see our below interview with Otrebor of Botanist) and as such the themes and currents running through their tracks align and give us a deeper insight into the Bay Area’s black metal scene. While Botanist treads the unconventional path, Palace of Worms sidles along a more orthodox route but the two projects throw curiosities into their music – Botanist via those incredible dulcimer parts and Palace of Worms through gorgeous synths and uneasy clean vocals – and both move forward from their previous releases into new territories and sounds.