Tag: PIG

Weird Stage :: PIG [Tim Luscombe]

PIG [Tim Luscombe]PIG thumb

Perhaps the pinnacle of PIG is the play’s powerful prelude by Harry/Barry/Larry/Garry (Bruce Dow). Is that too many Ps for the preface to a play review? The characters of Tim Luscombe’s play do it all on the stage, short of peeing on it: in the span of two hours, they kill, torture, fuck, swear, shout and most significantly engage with some very provocative subject matter. So beware! PIG takes you right out of your comfort zone, into one queer queer world. Ever heard of conversion (voluntary-transmission-of-HIV) parties? I saw it with my own eyes.

There are two main subplots in PIG that run parallel to one another: first, the love story of CUNTBOY (Paul Dunn) and GOURGEOUS FUCKER (Blair Williams) that begins with their online date, and second, Pig/Joe and Knife/Stevie’s nightmarish, explicitly detailed sex scenarios. And even though all the flashbacks and flash-forwards in between make Brendan Healy’s version of PIG hard to follow, nonetheless, he succeeds in telling a difficult story using a single doorframe and a pair of chairs. One of the main challenges of directing such a complicated script is the successful construction of ‘spaces.’ The director must be able to successfully morph the homogenous space-time, which hovers abundantly over the empty stage, into tangible localities and temporalities. Spaces that appear and disappear out of thin air in between succeeding acts. And this is where PIG stands out.

Martin Heidegger, the German philosopher, has an interesting conception of space and place. For him, ‘space’ is not the scientific coordinates that extend into X, Y, Z. Rather it is the openness that exists around places. Also, ‘place’ is not the mere position of a thing: it is where things, chairs and doors, begin their presence on the stage and create the spaces around them. Similarly, in PIG, chairs let me know that I am inside the bar where the crafty Stevie seduces the simple Joe. It is the ‘shut door’ of their bedroom that invites you to their lovemaking bed. The same door opens like a closet over and over to more and more spaces: a wedding reception, a nightclub, the torture cell, and, eventually, the conversion party. This scene is simply intolerable: it is the heart of the spatial labyrinth to which you have been artfully and unsuspectingly lured. And its painful rendering cracks open a fissure inside the heteronormative gaze. Joe’s character, fragile, sick, and sweet, indiscriminately reflects on the homosexual alterity that is often outcast to the margins of the society, and PIG forcibly includes him back in the view.

This is also why Harry’s opening monologue delivers so much impact. His words portray the everyday late capitalist consumer that stands for nothing but his own concerns: he votes for both “David Cameroon and Ed Miliband,” “shops at Costco,” and gets off from eliminating (murdering) Joe. PIG lets you know, loudly, melodramatically and uncannily, that this average British man can be found in Toronto. Buddies in Bad Times daring season debut is not a simple British play brought to our local context. Its mutually awkward and suspenseful spaces gradually and effectively tell the life and death of a peculiar gay man in its many facades, multiplicities, and complexities. And it frankly tells you about the Harry(s) that scare him into hiding behind closed doors. I don’t recommend PIG for its drama or schizophrenic pace. I recommend it for its BIG playful balls, if you have the heart for it.

Le clou du spectacle est, sans contredit, le prélude puissant que livre Harry/Barry/Larry/Garry (Bruce Dow). Les personnages de cette pièce, écrite par Tim Luscombe, n’ont aucune limite. Ils font presque tout sur scène (tuer, torturer, baiser, injurier, crier et même discuter de sujets controversés). La seule chose qu’ils n’oseraient pas faire sur la scène, c’est pisser sur cette dernière. Prenez garde! PIG va vous sortir de votre zone de confort, avant de vous plonger dans un monde fortement homosexuel. Avez-vous déjà entendu parler des soirées de conversion, durant lesquelles le VIH est transmis de façon volontaire? Je l’ai vu, de mes propres yeux.

Deux grandes sous-trames parallèles se trouvent dans cette pièce. La première tourne autour de l’histoire d’amour entre deux personnages, CUNTBOY (joué par Paul Dunn) et GOURGEOUS FUCKER (joué par Blair Williams). Cette histoire d’amour a débuté par leur rencontre en ligne. La seconde sous-trame se trouve autour des scénarios sexuels explicites et cauchemardesques vécus par Pig/Joe et Knife/Steve. Bien que tous les flash-back rendent cette pièce (mise en scène par Brendan Healy) difficile à suivre, il n’en demeure pas moins que le metteur en scène arrive à nous raconter une histoire difficile, en n’utilisant qu’un cadre de porte et une chaise. L’un des défis de mettre en scène un tel scénario est de bâtir un espace réussi. Le metteur en scène doit être capable de transformer l’homogénéité de l’espace-temps, qui survole abondamment la scène vide, et de la placer dans des endroits et des temporalités tangibles. Des espaces apparaissent et disparaissent, sans préavis, entre les actes. De ce point de vue-là, PIG se démarque.

Le philosophe allemand Martin Heidegger avait une conception intéressante de l’espace. Pour le penseur, l’espace ne se limite pas aux coordonnées. C’est également l’ouverture entre les endroits. Heidegger disait également que l’endroit n’est pas seulement défini par la position des choses et que c’était également là où les choses (des chaises et des portes) prennent vie. Dans le spectacle, les chaises me font comprendre qu’à un moment, je me trouve dans le bar, où l’astucieux Steve séduit Joe, un être simple. La porte fermée de leur chambre, quant à elle, vous invite à voir leur nid d’amour. La même porte (ouverte cette fois) nous permet de voir une réception de mariage, une boîte de nuit, une cellule de torture et, éventuellement, la soirée de conversion. Cette scène précise, qui est la pièce maîtresse de ce labyrinthe spatial auquel vous avez été attirés, est tout simplement intolérable. Le fait qu’elle ait été jouée de façon si douloureuse représente une fissure dans l’air hétéronorminatif. Le personnage de Joe (fragile, malade mais doux) reflète le sentiment d’altérité, que l’on retrouve chez la population homosexuelle. Cette dernière est souvent réduite à jouer un rôle en marge de la société. PIG s’efforce de ramener Joe sous les feux de la rampe.

C’est également la raison pour laquelle le monologue d’ouverture d’Harry a tellement d’impact. Ses mots dressent le portrait du défunt consommateur capitaliste de tous les jours, qui ne se dresse pour rien d’autre que ses propres principes, qui votent à la fois pour David Cameron et Ed Milliband, qui fait ses courses chez Costco et qui jouit lorsqu’il élimine (tue) Joe. PIG vous fait comprendre (dans un mélange de fracas et de mélodramatique) que le Britannique moyen peut se trouver à Toronto. L’émission marquant le début de la saison de Buddies in Bad Times, fort audacieuse, n’est pas que le fruit d’une pièce britannique trnasposée dans notre univers. Ses espaces, à la fois remplis de malaises et de suspense, racontent la vie et la mort, avec toutes les façades, complexités et multiplicités que cela peut comporter, d’un homosexuel particulier. De plus, cette série parle, avec franchise, des Harrys, qui pousseront notre homme à l’isolement. Je ne recommande pas PIG pour le niveau excessif de drame ou pour le flux schizophrénique qu’elle comporte. Par contre, si vous avez l’estomac solide, je vous la recommande, en raison des couilles qu’elle possède.

PIG

Imprint :: Electric Voice

Matt Samways is a young upstart from Truro, the so-called ‘hub’ of Nova Scotia. Before touching the age of 20 he led the pitiless doom punk of Pig, started the Electric Voice imprint, and played sideman to Scribbler and the Friendly Dimension. He has once again departed on another musical continuum with his latest project, Transfixed, a more sinister and contemplative vision of the futuristic isolation and robotic vocals of Kraftwerk and Gary Numan.

Electric Voice is not exclusive to the regional talent of the 902, but has entertained releases from across Canada, with ambitions to release music from around the globe. Up next is a 12” from Jeff & Jane Hudson, who were part of the New York No Wave movement during the late ’70s and early ’80s, arguably one of the greatest incubators for creative music of all genres, ever. Matt kindly took the time to answer some questions.

Zachary Fairbrother
Contributor
Weird Canada // Lantern
http://weirdcanada.com // http://lantern.bandcamp.com

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Transfixed – Coaxial Mirage

What inspired you to start a label?
It was conceived as a vanity label in 2008 with a partner I was collaborating with at the time, who actually titled the label. It was suggested by a peer that we began documenting our releases to enhance professionalism. We had no intentions of channeling anything other than our own material. As our group was disbanding a personal desire to continue the archive still existed. My friends are all making extremely good music and I can’t suppress supporting it materialize.
Since Pig split, you’ve devoted much of your attention to Electric Voice. Are you taking a break from music or do you prefer running label?
I wasn’t really interested in performing or releasing my own music at the time, but I wanted to keep contributing to the physical production of it. I hold a strong value in the aesthetic of sound and its presentation, and the idea of being able to manipulate it is appealing to me. About a year ago I started receiving funding from the Government of Nova Scotia via the Emerging Business Music Program on behalf of Electric Voice. That defiantly provided me with a lot of motivation to get the label off the ground and start working outside the current community in Halifax and Montreal. Though I am becoming passionate about the label, I am a musician first and still focus on writing and recording with aspirations of touring the material. Putting a lot of energy into the label in turn benefits my musical endeavors.
Transfixed is quite a departure from your previous musical adventures. How is it related/un-related to other projects?
The formation of Transfixed was completely organic. It is a collaborative project between myself, Ian Phillips and a number of rotating musicians. We had no intentions of forming a group when we first started playing together, but when we discovered that the house we had been jamming in was previously owned by Ian’s grandparents in the early ’60s, and that his grandfather grew up in the house, we decided to channel our time spent there with Transfixed. It has become an interesting and rapidly progressing project that there’s no reason to stop. Our ideas are constantly abstracting themselves and moving faster than we create the music. It’s exciting and with the lack of expectation we have become more prolific than any other project I’ve been involved with.

With my other projects/collaborations there has been a lot more premeditation on the sounds and how they should be presented. It becomes tough when a collective of people share the same visions without matching the logistics. The extrasensory parts of music can be difficult to communicate. I also work with Troy Richter and the Friendly Dimension in molding his sounds.

Synthesizers or guitars?
Guitars that sound like synthesizers. I think the combination can be a masterful force when properly conducted. I am ultimately a guitar player, but I’ve been spending a lot of time learning the keyboard. For the last few months I’ve hardly touched my guitar.
You hitchhike between Truro and Halifax. It seems like hitchhiking is a fading activity. Do you enjoy it, and do you have any good stories? Have you met some interesting people? Where is the farthest you’ve hitched?
It’s never really been something I enjoyed, but it’s done out of necessity. When I cannot afford to be bussing back and forth, it’s usually my only means to get to practices/gatherings, as all of the bands I play in are based in Halifax. I live back and forth from Halifax and Truro, which are about an hour’s drive apart. Truro is very isolated and is a great environment to work in, though can be compromising with my schedule.

I’ve only been hitching through Nova Scotia and Newfoundland for the last five years. I’ve been consistently traveling this way and have never encountered any trouble. Dress nice with a clean appearance. A lot of mothers have picked me up, also on- and off-duty police officers. The only questionable encounter was a lady who spoke in a thick rural Nova Scotian tongue. She picked my friend and I up in the dark and was drinking Faxe 10 (strong beer). She had what looked like 3-4 empty cans on the floor of her side of the car. It was a little unsetting but she was considerably collected and coherent. She had a bizarre way of twisting her words together that was oddly poetic.

You seem like an ambitious young man. What are your dreams for the Electric Voice Label?

I don’t class my visions with the label as dreams, because I don’t think they are anything we can’t achieve. The people I surround myself with are individually gifted at what they do. Thankfully all of the resources are presented, making it simple to have a pragmatic sense of work. I certainly am young; therefore I am not looking to execute the foundation process in short time. I will keep experimenting with formats and presentation, and try not to exhaust our resources. In time I will spend time refining the label and as expected with any small business or hobby, sustainability is key.

What other labels do you find inspiring and/or really dig and why?
To those who know me this may sound biased because Brett is a good friend, but I really like what he has done with Campaign For Infinity. He has released some of my favourite cassettes in the last few years (notable: Teenage Panzerkorps, Horrid Red, Grand Trine, Rape Faction). I also have a lot of respect for Darcy Spidle and Divorce Records, as it was a prominent influence of my origins in the community of Halifax. He is really passionate about what he does and it shows in his work. OBEY Convention is a festival he puts on every year or so and is the highlight of the year in Halifax, in my opinion. I am happy to be helping him with the festival in 2012.

I have some collaborative release coming out with Danish label Skrot Up as well as works with Montreal’s Hobo Cult. Some other notable active labels: Bruised Tongue, Captured Tracks, Dark Entries Records, FLA Tapes & Records and Arbutus Records. I also really dig the consistency in the aesthetic of labels like Sacred Bones and Night People.

Electric Voice Discography (to date)

  • EV001
  • ::
  • Albino Slug II
  • EP
  • (Cassette, 2008)
  • EV002
  • ::
  • Pig
  • Everything Isn’t EP
  • (CD-R, 2009)
  • EV003
  • ::
  • Vacuum
  • Tormented Bear EP
  • (Cassette, 2009)
  • EV004
  • ::
  • Pig
  • Elbow Witch
  • (Cassette, 2009)
  • EV005
  • ::
  • Church Hammer
  • Vol. I
  • (Cassette, 2010)
  • EV006
  • ::
  • Church Hammer
  • Vol. II
  • (Cassette, 2010)
  • EV007
  • ::
  • Church Hammer/Vacuum
  • Split
  • (Cassette, 2010)
  • EV008
  • ::
  • Pig
  • I’ve seen the future and it’s no place for me Compilation
  • (Cassette, 2010)
  • EV009
  • ::
  • Various Artists
  • Electric Voice Compilation Vol I
  • (Cassette, 2010)
  • EV010
  • ::
  • Milksnake
  • EP
  • (Cassette, 2010)
  • EV011
  • ::
  • Friendly Dimension
  • Live: In the Pleasant Horrors of Space EP
  • (Cass., 2010)
  • EV012
  • ::
  • Lantern
  • Deliver me from Nowhere
  • (Cassette, 2010)
  • EV013
  • ::
  • Gigas
  • Tied Down to the Ones You Love LP
  • (Cassette, 2010)
  • EV014
  • ::
  • Friendly Dimension
  • Bath Tub EP
  • (Cassette, 2011)
  • EV015
  • ::
  • Duzheknew
  • LOL HELL EP
  • (Cancelled)
  • EV016
  • ::
  • Wicked Crafts
  • “No Cure” EP
  • (Cass. (split w/ Campaign for Infinity, 2011)
  • EV017
  • ::
  • U.S. Girls
  • EP
  • (7″, 2011)
  • EV018
  • ::
  • The Friendly Dimension // 30 Year Old City Hex
  • “Poltergeist City”
  • (Cass., 2011)
  • EV019
  • ::
  • Babysitter
  • “Paul’s Cab” Single
  • (Cassette, 2011)
  • EV020
  • ::
  • Monroeville Music Center
  • Les Defauts des Fabrication EP
  • (Cassette, 2011)
  • EV021
  • ::
  • Milksnake
  • Lenny Bruce EP
  • (Cassette, 2011)
  • EV022
  • ::
  • Membrain
  • EP
  • (Cassette, 2011)
  • EV023
  • ::
  • Lantern // The Ether
  • Split
  • (Cassette, 2011)
  • EV024
  • ::
  • Play Guitar
  • Single
  • (Cassette, split release w/ Craft Singles, 2011)
  • EV025
  • ::
  • Grand Trine
  • Single
  • (Cassette, split release w/ Craft Singles, 2011)
  • EV026
  • ::
  • Bad Vibrations
  • Single
  • (Cassette, split release w/ Craft Singles, 2011)
  • EV027
  • ::
  • Transfixed
  • Single
  • (Cassette, split release w/ Craft Singles, 2011)
  • EV028
  • ::
  • Crosss
  • Single
  • (Cassette, split release w/ Craft Singles, 2011)
  • EV029
  • ::
  • Bloodhouse
  • Single
  • (Cassette, split release w/ Craft Singles, 2011)
  • EV030
  • ::
  • Hand Cream // Crosss
  • Split
  • (Cassette, 2011)
  • EV031
  • ::
  • Passion Party
  • EP
  • (Cassette, 2011)
  • EV032
  • ::
  • Cat Bag // Transfixed
  • Bunker // Body Language
  • (12″ w/ Claire Dragon, 2011)
  • EV033
  • ::
  • Rape Faction // Chevalier Avant Garde
  • Split
  • (Cassette, 2011)
  • EV034
  • ::
  • Various Artists
  • Electric Voice Compilation Vol. II
  • (12″ Cassette, 2011)
  • EV035
  • ::
  • Jeff & Jane Hudson
  • In My Car // Computer Jungle (+ Club mixes)
  • (12″, 2011)
  • EV036
  • ::
  • Visual works by Jacqueline Lachance
  • (VHS, 2012)

(Editor’s Note: Certain titles from this discography were not released by Electric Voice proper. As history’s nature is to continually re-write itself, so, too, shall we gaze pastward at Matt’s creative efforts and understand his temporal stream within the vision of Electric Voice.)

Video :: Transfixed – Physical Demands [Dir. Heather Rappard]

When the last vestiges of PiG transpired within the historic vortex of creative matter, Transfixed launched straight into the digital ether with a triumvirate of Kraftwerkian oblation. Paired with Meat Curtains’ Heather Rappard, “Physical Demands” emerges a linear behemoth, orthogonal to the layered VHS cut-ups marking its birth into the visual realm. Both audio and visual straddle the delicate lace wrapping the hypersurface of the present, grafting the temporally-obscured tension onto our misaligned anti-conscious. An inspiring correlation for the visually adventurous.

Review :: Various Artists – Electric Voice Compilation

Various Artists
Electric Voice Compilation
(Electric Voice)
Truro, NS
::web/sounds::


From the electric voices of Aaron Levin:
Bibelots of this calibre are rarely offered; an insane compilation capturing the audible wasteland of free-pop/punk/form creativity fermenting within Nova Scotian borders; a continuous psychic narrative seizing the spirits of Canada’s most concentrated musical hive. Matt Samways has raised his golden conch, spreading his Electric Voice and summoning the fried minds of east Islanders everywhere. An exciting documentation of the current wave of fringe musics in Canada’s East and something we will marvel upon in our disparate future. In order of appearance: Veitam Vets, Omon Ra, Dog Day, Cold Warps, Bad Vibrations, Stolen Minks, Meat Curtains, The Ether, PIG, Mess Folk, Fuck Montreal, Duzheknew, Vacuum, Throbbing Organ, Milksnake, D’EON, We Need Secrets, Shinobi, Compostainer, Torso, DA/AD, Corner Organs off, Cheif Thundercloud, Microorgans, Omma Cobba and the Eastside Marijuana Band (!!), Dead Dog, The Friendly Dimension, Scribbler, and Fascism.

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Electric Voices Compilation – Side A

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Electric Voices Compilation – Side B

Review :: PIG / !Kung San / Scribbler – S/Pl/It

PIG / !Kung San / Scribbler - S/Pl/It PIG / !Kung San / Scribbler
S/Pl/It
(meager / radiator)
(all over), NS
::web/sounds::


PIG continues to deliver their strange brew of time-lapse-weird-punk on this interesting document of Nova Scotia’s experimental-everything scene. Splitting the bill with PIG are !Kung San, a somewhere-between pastoral noodling and post-hardcore endeavor from Westville, and Scribbler, Halifax’s gravity-lens for experimental-anything in the Maritimes. Scribbler’s six contributions seem to be cut-ups from an insane live-set full of atonal screaming and guitar shreddery; relentless stuff. And, man, I just can’t get enough of PIG; the three tracks from them were not enough!

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PIG – Fight Boring

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!Kung San – 2:42

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Scribbler – Relish Stove

Review :: PIG – elbow witch

Pig - elbow witch PIG
elbow witch
(Meager / Radiator)
??, NS
::web/sounds::

Basements are the best breeding grounds for disparate menageries, and PIG is no exception; Eastern Canada being the only possible locale able to produce such a strange cocktail of Terminal-Boredom-approved adjective-punk and disturbing walls of slow-noise leaking into Sonic Youth territory. So, let me summarize: elbow witch is a boundary-pushing, genre-tom-fuckery likely to induce face-melting and mind-damage. PIG are young and rad and you better jump on their bandwagon before they explode (i.e. start gripping their soon-to-be-massive back-catalog before it’s too late).

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PIG – Fuck Sunday

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PIG – Wildcat Trash