People Like Us is audiovisual collage artist Vicki Bennett, who has been making work available via CD, DVD and vinyl releases, radio broadcasts, performances, gallery exhibits and online streaming for 25 years.
Since 1992, she has developed an immediately recognisable aesthetic repurposing pre-existing footage to craft audio and video collages with an equally dark and witty take on popular culture. She sees sampling and appropriation as folk art sourced from the palette of contemporary media and technology, with all of the sharing and cross-referencing incumbent to a populist form.
Embedded in her work is the premise that all is interconnected and that claiming ownership of an “original” or isolated concept is both preposterous and redundant.
Abridged Too Far is the first of a series of vinyl by Discrepant to celebrate this being the 25th year of People Like Us publishing albums.
First released in digital-only form in 2004 exclusively for UbuWeb (ubu.com), this album includes Vicki’s John Peel session and performances for WFMU, amongst others, both from 2003, and now comes packaged with brand new artwork designed by Vicki Bennett.
Tracklisting: Side A: 1. Nothing 2. The Doody Waltz 3. I've Got You 4. Dolly Pardon 5. Abridged Too Far
Side B: 1. Swinglargo 2. Downtown Once More 3. Bier Bier Bier Downtown 4. DO or DIY 5. Nobody Does
Yannick Dauby returns to Discrepant for Vol 2 of his ongoing study of the sounds and sights on the Penghu Archipelago, Taiwan.
Penghu Experimental Sound Studio Vol 2 uses interviews, field recordings, found objects and subtle electronic manipulation to transpose Yannick's impressions of the island's natural beauty. All sounds, field recordings and improvisations on electronic instruments, are from Penghu, Taiwan.
Interviews of children extracted from the film "Childhood of an Archipelago", by Yannick Dauby & Wan- Shuen Tsai.
The second session of Penghu Experimental Sound Studio was located in Husi village, during Summer and Autumn 2015 whilst the album was assembled in the hills of Taipei, during the Spring 2016
As we embark on a new year more characterised by fear and uncertainty than hope and optimism, a chronic shortage of dissent can be detected in the artistic community amidst a harrowing socio-political climate.
Yet the Salford-based collective Gnod have wasted little time in kicking against the doom and disquiet with everything at their disposal. “It seems like we are heading towards even more unsettling times in the near future than we are in at present.” Reckons Chris Haslam of Gnod.
“2016 is just the beginning of what I see as the establishment’s systematic destruction of liberalism and equality as a reaction to the general public’s loss of faith in their system” Charged by this outlook, Gnod’s new album, ‘ Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine’ represents a hitherto uncharted level of antagonism and adversarial force for the band - an artistic statement as righteous, fervent and direct as its title. which far from being an echo of an anarcho spirit of yore, denotes a record firmly entrenched in the psychic terrain of 2017.
“On the surface it could almost seem like there’s no political art movement out there to oppose what’s happening, but there is - we know there is” adds the band’s Paddy Shine. “Maybe that movement is struggling to find its voice as a cohesive whole right now but that will change. It has to change.”
Fuelled by their militant drive and unyielding ardour, ‘Just Say No…’ refracts Gnod’s harsh and repetitive riff-driven rancour through a psychotropic haze of dubbed-out abstraction, with Paddy’s incendiary vocal delivery to the fore. ,‘Just Say No… sounds like a record only Gnod could make - a band fiercely independent, never comfortable in one place artistically for any duration of time, always with their co-ordinates set on uncharted territory and the next challenge ahead, and delivering a monument of ire and iconoclasm.
Tracklisting: 1. Bodies For Money 2. People 3. Paper Error 4. Real Man 5. Stick In the Wheel
Limited pressing of 250 copies on black vinyl + insert
Sektarism's part recorded and mastered in august 2013 at Drudenhaus studio by Xort.
Layout by MystiK Dementia.
Quote from J. Campbell: Often overlooked, but never disappointing, DARVULIA has consistently produced some of the most unique Black Metal of the last decade. The band’s sparse catalog reflects its dedication to and the complexity of its work. The material on this new release is a departure from the band’s previous releases, however. Consisting of a single, 17-minute track of ritualistic and atmospheric improvisational music that defies simple categorization, Darvulia’s side of this split finds the band exploring more ritual and ambient territory.
SEKTARISM, a band that also hails from France, provides a sprawling 20-minute track for the B-side of this release. Sektarism’s unique brand of bleak, ceremonial doom is an appropriate rejoinder to Darvulia’s morose presentation. While Darvulia’s side is sparse, Sektarism’s sound is full, oppressive, and pulverizing. It is persistent in its approach – repetitive, but not monotonous. As Sektarism’s track progresses, it breaks apart and disintegrates into noise laden bass drones that approach the minimalism that characterizes Darvulia’s side of the release. In this way, this split reflects a concerted approach by both bands to attain an atmospheric consistency will still retaining the unique stylistic flourishes of each band.