Showing posts with label Martha Moopette. Show all posts
Showing posts with label Martha Moopette. Show all posts

Wednesday, 15 August 2012

Chin40 - Ergo Phizmiz "Papalaka Papalaka"


A spoken-word audio/video opera by Ergo Phizmiz, with text entirely snipped from the writings of Noel Coward. The audio is created from Ergo's collection of gramophone records, a sample from Monteverdi's "Combattimento de Tancredi", a wooden kitchen door, and Ergo's "Hallucination Duets".





"The Impulse to Shoot at Every Shadow" by Ergo Phizmiz from Ergo Phizmiz on Vimeo.

Text-Collage, Sound-Collage & Production by Ergo Phizmiz

Voices by Ergo Phizmiz, Flora Bertolli & Martha Moopette


* * *


N
When the curtain rises the stage is in darkness.
There is the sound of voices. Enter Young Man
followed by Young Woman. He turns up lights,
disclosing a comfortable little study with
a sofa, armchairs, books, etc.,
and the remains of a fire in the grate.

*

M
In January I went to Paris and breakfasted daily, curtains of wisteria
and serried ranks of snow capped mountains.

F
For the whole of the following year I did not work, my cough rapidly disappeared,
and then in a moment their colour and vitality faded.

M
Some little question of English grammar I bit her arm right through to the bone.

F
I drilled resonantly, a slight strain, you play exclusively in your mind,
I may add, that was not entirely free from superciliousness.

M
To this day we still meet occasionally and have a good time, but
the paths back into the past are long and tortuous, and new faiths,
like new policemen, were sick and tired of it.

*

F
My last link with familiar life, disappearing down the

M & F
handbags, hats, coats, sandwiches, apples, oranges, shoes, stockings, and bits of fur,
a tinny piano, too many chairs, a few mottled looking glasses,
always a pervasive smell of last week's cooking.

*

M
Small miserable groups of people huddled in corners.
I had still one more battle. Cockie in his box,
Mother to greet us blind in a dirty kimono, nor could
I have chosen a more thoroughly unsuitable place.

F
Conducting a furtive, illicit detail, but the climax
was always the same.

M
I soon became bored and wanted to go home,
made up into dark little rooms and passages,
and one could see across miles of marshes,
a square edifice wearing perkily a pink corrugated tin roof,
falling to pieces,

*

N
The noise is deafening – the chorus in various travelling dresses
are clustered round the low counter, trying to get the baggage examined
quickly, and talking, and shouting.
Young Englishman strolls languidly in.

*

M & F
there were two small ponds, five poplars,
a ramshackle garden consisting almost entirely of hedges,
and an ancient, deeply green orchard with thick grass
and low growing apple trees, hats, coats, sandwiches,
apples, oranges, shoes, stockings, and bits of fur,
a tinny piano, too many chairs, a few mottled looking glasses,
always a pervasive smell of last week's cooking,
two small ponds, five poplars, a ramshackle garden.

*

F
I was suddenly conscious-smitten by the sight of a poor old gentleman,
raspberried with the utmost fervour, although far from assured,
had at least been enough to procure me a dignified pose.

M
It was the result of careful thought, only for the sake of the salary,
seemed to be a static, over-cautious mania for travel and change,
but to me it wasn't foolish at all.

*


N
She takes the breakfast-tray from side table and rests it on her knees.
She proceeds to pour out coffee, she sips some of it
and then begins to eat a little toast. The telephone rings again.
She takes off receiver and speaks with her mouth full.

*

F
It is patronising, of course, to a certain degree,
but not consciously or disagreeably so;
I managed tactfully to erase some of the bloodstains.
As a new animal I received many surprising visitors in my cage.

M
My vision of myself at eight and twelve and sixteen is clear.
I know how I looked, of course.
Superlatives flew through the air, richochetting off mouldering midsummer.

F
Even Irene forsook me for a while.

*

M
I used to get packets of bacon on credit, restraining
the impulse to shoot at every shadow cast by the street lamp.

F
Her failure lay within herself, in her abrupt pride, and
sudden sharp intolerance, and her inability, when in certain moods,
to accept the small change of friendship, even from those
who loved her dearly,

M & F
deeply green orchard with thick grass
and low growing apples trees, hats, coats, sandwiches,
apples, oranges, shoes, stockings, and bits of fur,
a tinny piano, too many chairs, a few mottled looking glasses,
always a pervasive smell of last week's cooking,
two small ponds, five poplars, a ramshackle garden.

*

N
Black out. Close tabs.

Saturday, 11 June 2011

Chin21: Oblivian Substanshall "Oh What a Novelty"






The new album from the gentleman, poet, comic and raconteur who goes by the curious moniker of Oblivian Substanshall is resplendent with unforgettable melodies that delight in songcraft, wordplay, and the joy of subverting and playing with the English language like a ping-pong ball on elastic. “Oh What a Novelty” at once looks back to a starry-skied past of straw boaters and gramophone horns, whilst also containing a timelessness that could plonk it anywhere from the present day back to the 1920s. 

The album contains a nostalgia that is not remotely melancholy. Mr Substanshall is a genuine eccentric who revels in the creation of his own distinctive art, suffused with wit, playfulness, and an unpretentiousness that is as endearing as it is refreshing.


If you're looking for references to hang this album from, think of a gentle whirlpool, like a washing machine gracefully on its last legs, in which the ghosts of Ivor Cutler, Waring's Pennsylvanians, Spike Jones, Vivian Stanshall & Keith Moon, Kurt Schwitters, Kurt Cobain, and Max Ernst swim gently in circles on their phantom backs.


The album is produced by Ergo Phizmiz, and comes with a new video “Brilliant Bonkers” by Martha Moopette, starring the great Substanshall himself.




Pass it on, spread the novelty like marmalade!


All songs & spoken-word written by Oblivian Substanshall


Oblivian Substanshall: Vocals, Electric guitar, Bass guitar, Ukulele, Percussion

Ergo Phizmiz: Harmonium, Melodica, Glockenspiel, Ukulele, Violin, Bass guitar, Vocal on “Upside Down”

Martha Moopette: Vocal on “Upside Down”


Video and photography by Martha Moopette


Produced by Ergo Phizmiz


More from Oblivian Substanshall on Chinstrap at "Finnish...But Don't Wait Till You Stop" , "Three Elements Hiss" and "The Greatest Hits of Oblivian Substanshall, and So On".

Monday, 6 December 2010

Chin14: Vulnavia Vanity "Worse Things Happen at Sea"


Chinstrap are delighted to present the debut single from young philanderer, explorer and hedonist Vulnavia Vanity.



"Worse Things Happen At Sea" is one of the catchiest coming-out songs ever to pop out of the proverbial musical oceans. Complete with a very blue video by Martha Moopette, "Worse Things Happen At Sea" is the first will and testicle of a young wizard of songcraft, a magnetic performer and surely the sexiest unknown Pop Star to grace the obscurantist seas Chinstrap sails. *



This single is presented alongside remixes by Oblivian Substanshall, Ergo Phizmiz and The Superfools.

Written & Performed by Vulnavia Vanity. Video by Martha Moopette. Produced by Ergo Phizmiz.

* Here at Chinstrap we believe, wholeheartedly, that the greatest pop stars in the world are generally unknown and working under the pretence of being experimentalists. The culture spearheaded by Lord Simon of Cowell has destroyed the genuine pop star. A true, born pop star is, by nature, a maverick, a vagabond and an outsider, and wouldn't consider appearing on a talent show to be judged and put down by a bunch of idiots who can't hold a tune themselves. That's why all pop stars today appear to be pretending, because they are pretend. They want to be pop stars, rather than naturally just being pop stars. Vulnavia Vanity is a pop star. Simon Cowell's eyeballs and testicles would disintegrate if he sat and watched him for more than a minute.*

* How's that for a press release that uses the world "testicle" twice?

Thursday, 11 November 2010

Chin13: Oblivian Substanshall "Finnish....But Don't Wait Till You Stop"

Surrealism as a method of art has become almost synonymous with advertising over the past 20 years, the original movement's power to disturb and shock eaten away by the overuse of images of talking fish, lobsters in spats, and coat-hanger headed people to sell Tampons, Baked Beans and Spandex trousers.



One area of artistic practice where Surrealism has remained relatively undisturbed by the influence of advertising, however, is sound and music. This is fortunate for us, because the artist who goes by the curious monikers of variously TOSS, Tengemort, and Oblivian Substanshall is undeniably a dyed-in-the-wool Surrealist. A hugely prolific artist in radio, music, cartoons and painting, he has developed, through his regular broadcasts on Soundart Radio and releases on Chinstrap, built an aesthetic that is as singular as it is unpredictable.

The Surrealism of the mysterious figure of Oblivian Substanshall, who is sometimes seen talking into biscuit tins, is not the Surrealism of advertising, but closer to the comic and disturbing imagery of Max Ernst, whilst also harking back to the English nonsense tradition of Lear & Carroll.

His latest release on Chinstrap "Finnish But Don't Wait Till You Stop" is his most diverse and accomplished release yet. A veritable treasure troves of ideas and creative avenues, Mr Substanshall is just as adept in whipping out an unforgettable pop song as he is in weaving a nonsense narrative or a clanging, Beefheart-esque guitar driven opus. The diverse nature of this release is unified first of all by his distinctive aesthetic, and secondly by his voice, which is instantly recognisable, simultaneously as warming as a cup of tea and disturbing as a naked, wizened, bleeding dog-lady turning up in your bed.

So sit down, pour your favourite beverage, and immerse yourself in the barmy and beautiful world of "Finnish...."

*



This album comes with a new video from Chinstrap's resident film-wizard Martha Moopette, using elements of every track on "Finnish...." to create an intense, strange and hilarious film collage of death and digestion. Featuring Amie Willingale, Talulah Lotus, Autumn Poppy, and a range of dead animals from the streets and fields of Bridport.

*

Cover photography by Martha Moopette. Cover design by Ergo Phizmiz.

Tuesday, 9 March 2010

Chinstrap - January - March 2010

All the first Chinstrap releases, in one convenient post....

CHIN05 - Various Artists
"Cyclic Bits : The Raymond Scott Variations"

Remixes of Raymond Scott by some of the most inventive composers around.


CHIN04 - Oblivian Substanshall "The Greatest Hits of Oblivian Substanshall....and so on"
Pop songs, spoken-word, radio-art, and drawings from a unique purveyor of timeless English nonsense abstraction. Triple album.


CHIN03 - Martha Moopette, Heather McCallum & Rosalind Noctor "Hedgehogs & Honeybeads"
Electroacoustic soundtrack to award winning dance & animation film.

CHIN02 - Various Artists "Windpipe Moods"
Re-issue of sound-poetry compilation, first released on Mukow CD 2004.

CHIN01 - The Travelling Mongoose
"Singin' In The"
Field-recording sound-collage from a Mongoose who perpetually travels with a sound-recorder.




Monday, 15 February 2010

CHIN03 - Martha Moopette, Heather McCallum & Rosalind Noctor "Hedgehogs & Honeybeads"



"Hedgehogs & Honeybeads" was a collaboration with film-maker Martha Moopette, musician Heather McCallum, and choreographer Rosalind Noctor, crossing film, sound-design, dance, and installation art. Created in 2006, the project went on to acclaim, most prominently at Motion Plymouth Film Festival (where it won Best Artistic Merit), and Art-Bereg film festival, St Petersburg.



This release, the third on Ergo Phizmiz's netlabel Chinstrap, comprises a remastered version of the film soundtrack, and four alternate edits created for simultaneous looping in installation form.

The project was devised and created by Martha Moopette & Rosalind Noctor

Flute & Guitar improvised by Heather McCallum

Edited & Produced by Martha Moopette

And here is the film ....