ALGIERS have released collaborative audiovisual piece, “Can the Sub_Bass Speak?”, a new work from the band and production duo Randall Dunn and Ben Greenberg (Jóhann Jóhannsson's Mandy Soundtrack, Sunn O))), Uniform). The new piece pits charged language and free jazz collage by ALGIERS multi-instrumentalist Franklin James Fisher, saxophonics pioneer Skerik and drummer D’Vonne Lewis against a maelstrom of visuals by award-winning filmmaker Sam Campbell and typographer Farbod Kokabi.
Inspired by a chance encounter with artists Moor Mother and Harrga at Wysing Polyphonic in 2018, “Can the Sub_Bass Speak?” contorts ALGIERS’ post-punk deconstruction of racial and class sonic politics into new collaborative directions. “Can The Sub_Bass Speak?” is the centerpiece of a larger web installation thereisnoyear.com.
The film recalls the ‘visual abstraction’ and political radicalism of Lis Rhodes and John Akomfrah, situating Fisher’s lyrical examination of structural racism within the disorienting resurgence of fascism across Europe and the United States.
Who has the cultural authority to designate origin and authenticity? “Can the Sub_Bass Speak? “is a frustrated regurgitation; a re-contextualization; a re-appropriation; a shield and a mirror that projects back onto the world a lifetime of interpellating language rooted in weaponized ignorance and supremacist privilege. The improvised punctuation is provided by Skerik on the tenor saxophone and D’Vonne Lewis on drums and percussion. The underlying cacophony traces the evolution of African-American music, experience and identity. This is not for the mercenary architects: the Jacks and Queens of simulated experience. This is for anyone who has found themselves on the sharp end of insidious, rhetorical prying: “Where are you from?” “What are you?” This is for anyone who has had their identity assigned and determined by the agents of patriarchy. This is for the Subaltern.
Alongside, ALGIERS have announced UK & European headline tour dates for 2020, perhaps pointing to more new music to follow soon. Kicking off in Brighton on February 3rd, the band headline London’s Village Underground on February 5th, before continuing to further stops in the UK and Europe.
Eşya is a solo project from Ayşe Hassan (Savages/Kite Base) an unsettling, beat driven and wonky exploration of the absurdities of life; ATCG being the building blocks in human DNA. The intention is to be honest, abrasive and direct, confronting the things we fear the most. Transgressing comfort zones by experimenting with the complex and contradictory ideas that can exist within one person. An industrial pop existential exploration.
APOSTILLE is a man who's torn through enough sound-systems to know the difference between gesture and meaning. Alongside running his own DIY record label, Glasgow native, Michael Kasparis has spent the last few years making forays into the realm of hardcore punk with his groups Anxiety and The Lowest Form. Throughout all this, his solo electronic venture, Apostille has continued to evolve with each twist and turn of the world. What started off as a quest to whip up a mood and force that into a song has steadily become more of a mission in communication.
His audacious 2015 debut album 'Powerless' self-released through Night School set the template by hooking up his honest delivery to some manic expositions in electronic pop. At once minimal and courageous with intent to connect, Apostille songs race off with unchecked abandon, skittering drum machines, thick walls of sequenced synth and decidedly elastic basslines. The resultant live shows, noted for their frenzy and ragged vision, soon left Kasparis wanting to reach out in a more imaginative way than through volume and conflict.