The Good, The God & The Guillotine - Trailer

A show that steals its style from the gig, the opera and the recital, The Good, the God and the Guillotine is a music-driven piece of theatre like no other.

A long walk, the beach. A fight, a murder. The heat, and the barking of dogs. We’re travelling out of the sun and towards darkness.

Three performers and three laptop musicians create an atmospheric, cross-genre journey through a tangle of relationships and technologies, all set against reactive objects, lights and hand-drawn animations.

Proto-type Theater, collaborating with the musician/composers of MMUle (Martin Blain, Nick Donovan, Paul J. Rogers), lighting designer Rebecca M. K. Makus and animator Adam York Gregory, present a performance sung and spoken across thirteen distinct chapters.

The Good, the God and the Guillotine is a personal answer to the universal question, and was inspired by a reading of Albert Camus’ powerful 1942 novel The Stranger.

Premiere at Lincoln Performing Arts Centre - 25th October 

The Good, The God & The Guillotine

Coming soon ....

The Good, The God & The Guillotine

Premiere is October 25th at Lincoln; 

http://lpac.co.uk/event/the-good-the-god-and-the-guillotine/

more dates being added to the Spring tour as we speak.......

A show that steals its style from the gig, the opera and the recital, The Good, the God and the Guillotine is a music-driven piece of theatre like no other. 

A long walk, the beach. A fight, a murder. The heat, and the barking of dogs. We’re travelling out of the sun and towards darkness. 

Three performers and three laptop musicians create an atmospheric, cross-genre journey through a tangle of relationships and technologies, all set against reactive objects, lights and hand-drawn animations. 

Proto-type Theater, collaborating with the musician/composers of MMUle, lighting designer Rebecca M. K. Makus and animator Adam York Gregory, present a performance sung and spoken across thirteen distinct chapters. 

The Good, the God and the Guillotine is a personal answer to the universal question, and was inspired by a reading of Albert Camus’ powerful 1942 novel The Stranger. 

Fridger (Version Karaoke) :: Audio Streaming/Download :: News

Click the link to access a free download or streaming of The Sevens Collective track 'Fridger (version Karaoke)' which has been published in the Classwar Karaoke survey 0022.

Fridger is a 10 minute piece built from the actual noises of the Desolate Market Fridge......

The collection hosts a number of great sound artists and experimental musicians including Philippe Petit, Aaron Moore (Volcano The Bear), Jaap Blonk, Phil Minton and many more. A wonderful collection and all for free !

http://freemusicarchive.org/music/The_Sevens_Collective/Classwar_Karaoke_-_0022_Survey/93_Fridger_Version_Karaoke

In other news, late notice but... The Sevens Collective are playing Manchester UK this week at The Klondyke Club in Levenshulme. 7.30pm start. Thursday June 6th. More details here;

http://www.mixupmcr.com/

More news coming soon about the Sevens Collective album release on Beta-lactam Ring Records, currently slated for August. This album has been in the making for some time and features a number of other Beta-lactam Ring Artists.

Warm Regards,

The Desolate Market family......

Soriah & The Sevens Collective - Video

Audience video from the performance this week at The Haunted Inn.

Soriah - Vocals, Dosh Puluur
Paul Rogers - Slide Guitar
Jennifer Hames - Organ

Songs For The Haunted Inn

A unique performance of strange and beautiful sounds by Soriah, Paul Rogers & Jennifer Hames.

May 13th in the middle of England, in a Haunted Inn.......

Would be great to see you there.

Contact us if you need more details.

Somewhere A Voice Is Calling

http://desolatemarketrecords.bandcamp.com/album/somewhere-a-voice-is-calling

5 and a half minute edited mix of moments from a Live performance of the piece in 2012. The original performance was around 40 minutes. The longer version requires the immersive and visual elements. 

The Media Machine - A Real Time, Performative, Sound & Object Based Installation. 
Paul J. Rogers 
The Media Machine is a visual/sound installation which exploits the nostalgia of objects, live performance, ‘junk noises’ and objects, and perceptions of listening. An investigative process through the history of the recording/playback machines of the last century brought to life the sights and sounds of this real time, installation based, performative sound sculpture. The Media Machine is a collection of historical sound 
objects ranging from Gramophones from early 20th Century to mp3 players and Digital Streams of contemporary listening habits. In between these extremes there are Turntables, Radiograms, Cassette Players, Reel To Reel and many more, all of which are played as one large integrated instrument. Some are played in their natural condition, some are sonically manipulated and the sounds transformed, and other objects are completely reinvented, technically restructured to produce new and innovative approaches to sound control interfaces. 

The Machines and their sounds form a visual and auditory history where the past is flexible and fluid. Live performance on this integrated sound sculpture reveals the history of sound in a new light. 

As well as exploiting the discarded objects as recycled junk within an ecological framework the work also exploits those ‘junk sounds’ which are the byproducts of the media based devices, both from the devices themselves and the media used to play and record music on the machines. Noises which form a part of the listening experience but 
which are never the original intentions of the composer or recording artist. A few examples being; 
a) The sound of a Turntable needle on a Vinyl Record at points where no ‘music’ exists. 
b) The static pops and crackles bleeding into the music on Vinyl. 
c) The background hiss from a Cassette Tape during moments of no music. 
d) The static and interference from a Radio tuned between stations, but also bleeding 
through into tuned stations. 
e) The numerous clicks and thuds of the devices being switched on and off and other 
function buttons. 
f) The skips in data loss from digital formats (CD, DAT) 
g) The slowing down/speeding up of sound through tape wear and cassette mechanisms 
failing. 
h) The tonal imperfections of diminished frequency response inherent in certain formats 
(particularly Gramophone Players, Small Speaker Radios, MP3 players built in 
speakers). 
i) The general sonic errors of broken and discarded audio devices. 

These extraneous ‘junk noises’ which are implanted on our auditory experiences are twisted into shape through real time performance as a composition is played out using the machines themselves to reproduce the sounds. Some of these sounds are adapted and sonically sculpted which are in turn triggered by some of the machines which have been technically adapted to permit audio control and manipulation. The devices use integrated chipboards, built in sensor technology, acoustic exploitation, contact mic techniques and sound effect manipulation to 
facilitate new modes of performance. In places this is also facilitated with custom built software applications using the Max/MSP programming language. 

Visually, the installation immerses the viewer in an arena of the nostalgic and the familiar, and, whilst we see and hear the cultural audio debris, we indexically link them to our personal histories, mechanisms and locations. The Media Machine recycles and upcycles both visually and aurally. 

The performance of the Media Machine also becomes a form of theatrical performance art. The human presence within the piece is integral and serves to signify the relationships we all have with the sounds and sights presented. Many of the machines require very specific and varied human interaction, the performance of non-conventional instrumentation results in non-conventional modes of instrument performance, this has theatrical connotations. 

In describing and sonically sculpting the flaws of the machine this installation traverses time. It compounds and confuses the history of the sound object and its auditory connotations in a century wide artwork, a playful response to Luigi Russolo’s invitation of 100 years ago for ‘musicians of talent to conduct a sustained observation of all noises’. 
The Media Machine arises out of a ‘...taste and passion for noises.’ (Art Of Noises, 1913)

New Album Release 'Voices From The Dead Wax'

New ambient/drone based release from Paul J. Rogers - Voices From The Dead Wax -























Download individual tracks or the whole 45 minute album for £3.00 here;

http://desolatemarketrecords.bandcamp.com/album/voices-from-the-dead-wax

‘Dead Wax’ is a term used to describe that area of a vinyl recording between the end of the actual recording grooves and the central label. The dead wax is the run out groove, the perpetual scratchy rhythm emitted from the vinyl as the pressed music ends. Often, the dead wax is also an area which contains manually scratched messages such as the catalogue numbers or occasionally more cryptic or undecipherable messages from the artists. A form of extraneous visual communication and practical mechanical application but one which also has audio consequences. 

This is a collection of pieces pursuing a complete Re-Imagined approach to the Second-Handed Blues album. 

This album pulls out the underlying atmospheres and more ambient underlay from the original tracks, a kind of Third Hand Blues, recontextualising and plundering the extraneous sounds and more hidden moments beneath and within the surface of the originals. 

Adopting a more ambient/drone style approach, this collection was originally conceived to be encountered in a totally darkened room with the aid of a single candle, without interruption. 

Listen closely to hear the Voices From The Dead Wax seeping through. 

DMR008

credits

released 28 February 2013 

All sounds and textures and electronics and plundering and destroyed piano by Paul J. Rogers. 

Original piano parts by Adam Fairhall. 

Produced by Paul J. Rogers. 

Desolate Market Records 2013.