Saya tidak barbicara bahasa indonisia

The rising and falling from the two tones of the street vendors bell wakes me. A little ropey seems like a first description of how I feel after yesterday’s travel, but it’s OK, cos I’m in Jakarta! My one and only mission today is to get to the city of Cirebon by train.

Local coffee and fruit are offered for breakfast, and it’s perfect and unhurried. I had different accommodation booked to where I ended up. While in Sydney, an old friend, Chris, from Jakarta, made contact and offered me a bed at his place. A very welcome welcoming.

The train departs Jakarta at 11, Chris advises I get a taxi at 9. We are some distance from the train station, Pasar Senen. It’s good advice. As it transpires, nearly the entire two hours are required … I get on the train with only minutes to spare.

Economy class is perfectly comfortable. The biggest relief, other than being onboard, is that each seat has a power point. This means the phone remains charged. It is the most essential piece of equipment. I am reminded again how much I like Google Translate.

I am also reminded of my näievity, and honest ignorance in being somewhere where daily interactions and engagements are beyond me. I am without local spoken language. I do not speak bahasa, Saya tidak barbicara bahasa Indonisia. I hope that people can make sense of my pidgin bahasa, my arm waving, and that I also encounter people who are gracious enough to help.  I have met nothing by kindness so far.  A serving of humility can go a long way.

The journey across land is flat.  Leaving the frenetic city and the business of its active inhabitants. The unfolding country shows no less sign of activity.  Every spare morsel of land I see seems to be in agriculture, mostly rice, I assume. Rectangular and flooded sections of earth to the end of what I can see. Fruit trees, banana palm, and dwellings in states of construction, habitation, and destruction. An earth in permanent transformation.


I ride the train longer than my ticket brought. I booked the wrong stop, and it is a long way from my accommodation. No one seemed to notice my freeloading, I disembark at Cirebon station. 

I must look like a windfall to the gaggle who facilitate taxis. The fourth person I met in this exchange was the driver. And ‘exchange’ is an exaggeration. They talk, I can not.  I let myself be sheparded into the nearest cab. It’s all plesant enough, fully at my expense, which is still actually not much. Tip for next time… Google Translate’s talk-to- text is very useful… must be online though.

Signing into the motel is more mutual. The back-and-forth of conversation via the app. While the paperwork is being completed. I show the young guy at reception a clip of me making a mushroom’ sing’. He asked if I was a scientist? A ‘strange musician’ said I.


Later, I met Wawan and friends Rinto and Alif. Wawan had been my contact for the show. We have met to eat, but first we must get two more performers the group Orqan from Italy, just arriving in the city from the train station. This maneuver is achieved from the spare room on scooters.

Later, still, somewhere near the middle of the city, perhaps, we are sitting streetside eating hot corn on the cob, and Docang, a spicy dish of vegetables and a fermented tempeh product made with coconut. It’s good.

The night ends with the others off to their accommodation and me back to mine. Alif takes me on his bike, and the streets seem quiet.  And I am sated. And sleep beckons.
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Other notes:
There is a young girl on the train who has a birth mark high on her left check, just under her eye, that has the striking resemblance to a butterfly.
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We pass a train graveyard nestled in between fields of rice. I was lucky enough to be standing between carriages looking out the window at the right place and at the right time. I caught a photo of the smallest portion.


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I don’t understand the cycle of rice growing. Perhaps it is a harvesting time? Many fields have mounds collected of plant matter, which then seems to them be burned off. Other fields contain the large blacken and burnt carcasses of previous mounds. I wonder if all that carbon aids growth.
–‐————

Bats ARE in the loft.

Out from the darkness

We are the only vehicle moving towards the airport. The water across the sand is calm, and there is no wind. The birds are still asleep, as is most of the inhabitants of these more solid nests. This darkness is an in-between space, limnal, here it feels like potential is waking up.

Darkness is an experience we all share. We also share our differences in experiences of darkness. We can be in the same physical space and yet vastly different psychic places at the same time. My darkness this morning is important to me. I am up so much earlier than usual with the intention to travel across the city to the airport, flying first to Sydney, then onto Jakarta. Typically, in the recent past, if I was awake at this time, it was because I had lost the ability to sleep. The dark held terrors.

My own personal darkness for the last four years had not felt so pregnant with hope.  Life took a turn for the hard, and then harder again. It’s been a time of involuntary breaking, revision, and then reassembling by brute will, appropriate interventions, and an incredible web of support. I felt kneecaped by a clusterfuck of events that eventuated into a diagnosis of PTSD. Only relatively recently, as each day passes, I can see evidence of this becoming post-PTSD (if that is, in fact, possible). I do know that scars will remain and that I continue to keep figuring all this out. I am forever grateful for those who have stood by me in this time where I have learned again to stand confident on my own.

And here I am. Approaching twelve thousand kilometers high. The horizon is a rainbow, and the outside is freezing at -55°c. Up here is where life like ours can not remain. Though I have read that even in these extreme environments, the life of certain staminas’ can survive. And over ‘there’, where the rainbow meets the Earth, adventure and wonder dwell.

This is my first post-covid tour.  I am on my own this time. I tell people I am traveling with a trio called vegetable.machine.animal, a non-human/technology/human ‘band’. I’ve never been a massive fan of electronic music, yet here i am pedaling a modular synthesizer across the sea.  And I’m no scientist, but I have become immensely interested in the interspecies networking, the symbiotic coexistence, and the evidence of a massively weird and interconnected world unfolding in scientific findings of recent years.

In this ‘band’, I am able to detect an echo of these connections. I have a biofeedback module on the synth.  This enables the electrical signal of living matter to become an influencing player in the circuitry and programming of the synthesizers computers, producing random, dynamic, and interactable sounds. I hear these sounds and then attempt to drum along .

This is the project I want to now take out into the world. This is how I want to reconnect. I heard a story once about how the great navigators of the Pacific had the skills to be guided by the dark. It was only in that darkest of environments that the next passageway became obvious. If you could read the stars, then you could identify the direction to head towards when the next sun rose. I am happy to be reminded that the darkness, among other things, is also full of awe.
‐———————–
Hours later:
It pays not to think too hard about the concept of trying to sleep in a tube hurtling above the earth. Fortunately, it’s so uncomfortable, and trying to bend into some form of sadistic yoga pose provides comfort only in knowing that at least I tried to be comfortable.. not that I was.
———————–
The old boy in the chair behind me has burped constantly from Darwin to Dempessar. I am not not impressed.
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Just like this morning, we seem to be the only vehicle on the road.  Out my porthole, over the wing, I see layers of pinks, blues, browns, and greys… like sediment,  less geological… is atmoslogical a word?.. probably not.

Maybe it's smoke from a volcano, photo taken from plane


There is a cloud in the distance that looks different, darker, and taller with solid mass.  I wonder if at this altitude that it might be from the active volcano north towards the Philippines.  I’m no  expert, but it didn’t look like cloud, more the haze of smoke. It has none of the fluffiness and features of the cloud forms beneath it.  A thick and flat featureless gray  smudge that spans what I can see of the horizon.
 
——-‐——–
I see land mass below.. or are they shadows of cloudbanks? ill-defined and uncertain… I imagine the landmass rising and falling like they are relations to some mighty cetacean kin.
—-‐————–
The slightest shift in something.. air pressure? angle?  Incline?  is reminiscent of some mighty bee bending is snout to some destination called flower.
—–‐——-
It’s been a long day.

v.m.a Java Tour 2024

I’m feeling incredibly lucky to get back out on the road with a new project, full of uncertainty, adventure and connection. The trio vegetable.machine.animal is fortunate to get to present their sounds at the long-running and inspiring Jogjakartan music festival, Jogja Noise Bombing.

I’d first heard of JNB when on tour in this city with mr sterile Assembly, we made made friends with one of (many) key instigators of the Jogja noise scene, Indra Menus. You may recognise his name for the sounds he added to the record of Buru, on the Run Peter Run ep, and Cut Hunter, from the album HELLo.

Needless to say, one show is never enough and v.m.a has a 6 date performance schedule in the first two weeks of May.

May
Wed 1: Cirebon: NHC Fest – Venue – Kael Cavity
Sun 5: Jogjakarta: Jogja Noise Boming – Day 2, Venue – Sangkring Art Space
Thurs 9: Malang: Malang Noise Festival, Venue – Malang Creative Centre
Sat 11: Malang: Venue – Semaru Art Gallery
Sun 12: Jakarta: Venue – Tanam Bunyi
Mon 13: Jakarta: Venue – Pecah Kongsi

DRONEmusic revealed

So it had come to our attention, that our final show, is also an album release show. Hadn’t really planned it that way but sure why not… so we’re going to release our new album HELLo properly into the world… and by default then we are also making this our release show for the album GOODBYE as well.

So I thought I’d take a wee bit of your time to chat about some of it’s content 

DRONEmusic is not, as some might assume, about the sound art of the same name. It IS about the devices used for surveillance, conflict, and now delivering pizza.

The inspiration for the structure of the song comes from an incredible set of poems by Teju Cole called Seven short Stories About Drones.

Released onto Twitter in 2013, Cole composed this succinct tweets with the opening line of seven popular works of fiction. This opening was then swiftly followed up with an abrupt ending regarding Drone warfare in some way. I read somewhere that it was an attempt to engage middle-class liberal and literate folk into the horror of this new technology.

Our adaption moves away from literature and the the targets for assassination in our verses are political, indigenous, social and spiritual leaders.

The book Drone Theory by Grégoire Chamayou was also an important read, alongside other only reporting on massacres, events and mishaps…like the destruction of a wedding.

Our Lyric:

Hanging on the cross will break the pattern

Draw attention from afar

Baptize troublemakers in their ashes

Incite rapture in a tiny star

Waiting for a bus and feeling nervous

Someone’s watching Rosa sitting there

At a job that’s mostly boring

Till the targets sitting in crosshairs

Reaching up, her hand in Nana’s

The Reaper locks in on their stride

Lining up the cross on Whina

Collateral damage tallied for their side

Growing up in a poorer part of town

Locally, Lomu’s hope was not so known

He’d pull a crowd, to the game

Send a Signature Strike, to shut it down

Martin had a dream and a need to speak

A way with words to avert the violence

The Predator locked on his open mouth

The microphone broke as cries filled the silence

River cools the feet of united voices

Gandhi hears a whine cutting through the din

Mozzie’s on the hunt for a feed

A Hellfire Missile turned it all to steam

Silhouette on the snow, it’s not a dove Put the Drone to work

There’s money to be made, infertile plains Put the Drone to work

Pull up the pegs, on Surveyor’s lines Put the Drone to work

Weaponise the laws, just point and shoot Put the Drone to work

On the land and in the sea, Everywhere and Everyhere 

In the tech and In the fear, In atmos- and psychosphere 

Mine the sky, mine the sky, mine the sky, mine the sky.

Glowing like its all radioactive

We had the wonderful pleasure to flaunt our wares live on air at the local and independent radio station Radioactive.fm. Was real nice to be welcomed in and made super comfortable.

Please enjoy this video produced by Radioactive.fm, and be sure to check out many of the other fine acts that they showcase weekly in this format.

Review: Muzic.Net.Nz

New Zealand’s globetrotting punk rockers, drummer/vocalist Kieran Monaghan and bassist/vocalist Chrissie Butler, release their sixth and final album twenty-two years, two months, and five days from the date of their inaugural show.

In 2001, Mr Sterile Assembly was an unlikely three-piece; guitar, drums, and trombone. Over many years and manifestations, the band from the end of the world with something to say found people and places with ears to hear it. Collecting luminary musicians and collaborators like Aaron Lloydd, Cara Conroy-Low, Chris O’Connor, Dan Beban, Dave Mike, Elisa Kersley, Francesca Mountfort, Jana Te Nahu Owen, Jeff Henderson, Miles Climo, Sarsha Douglas and Vlada Plackic along the way, Mr Sterile Assembly (MrsA) went on to support famed acts such as Crass, Sabot, Jello Biafra, and Miss Moon. HELLo (alongside simultaneously released EP Goodbye) is the final note of a lauded run. 

Guest appearances include Hannah Salmon, vocalist for Unsanitary Napkin and Displeasure, Adam Tomasek – trumpet from the Czech group Uz Jsme Doma, long established noisenik Indra Menus from Yogyakarta, Indonesia and the fungi influenced electronics of Pōneke based vegetable.machine.animal. Drums and bass were recorded by Vanya of scumbag college studios. All else recorded, except guest tracks, were recorded at Happy Valley. HELLo was mixed and mastered by Stephen Cole at What Studios Liverpool, UK

Catastrophic Engine sets a familiar tone for the new album with a relentless two note melody over driving cymbals and syncopated hits on the dry snareless tenor between seamless dips from the primary meter. Due to the mixtape nature of the collection, lyrics of the Orwellian monologue are less discernible by ear than in past releases but are well worth looking up! They read like poetry and sing like punk. Group singing underscores the communal nature of the project/movement with a variety of varied, cartoonish timbres reminiscent of a Rocky Horror Picture Show chorus. 

For some unknown reason, track number two on any album is always a favourite. Run Peter Run is a classic from statement to execution. The bass rips along like an engine giving pursuit beneath increasingly urgent, threatening, and varied utterances of “run, Peter, run.” My first thoughts were of Beatrix Potter’s “Peter Rabbit” and a vintage children’s song called Run, Rabbit, Run in which “every Friday is rabbit pie day.” Upon googling, I came across an apparently popular Christian song also called Run, Peter, Run which goes, “Run Peter, run! Go tell your friends! Run Peter, run! Jesus rose again!” Both potential references make fine political social commentary in my mind, but the final lyrics ” – “’68 Olympic Game, Starters gun Outer lane, Silver race Winning fame, Dias rise Changing fate” – clarifies reference to the story of Peter Norman – Australian Olympian who stood solidly alongside fellow Olympians Tommie Smith and John Carlos, who became infamous for the Black Power salute on the dais during the medal ceremony. Norman’s willingness to stand beside Smith and Carlos earned the ire of the institutionally racist Australian authorities. Forty years passed before the Australian government offered a posthumous apology to Norman for the treatment he received for standing in ally-ship with Carlos and Smith in the fight for justice. “The right act costs more, conscience like a crime, divisions laid open, where is your line?” The song’s opening refrain, “Run, Peter, run” becomes even more sinister as one imagines the utterance from the lips of the law. 

Historical reviews that describe MrsA as “cohesive” and “challenging”, “hardboiled but somehow never difficult to listen to”, “at times is brilliant”, and having “a slight sense of claustrophobia, a threat of some sort, with song subjects based in the harsher realities” still ring true. The gradual introduction of more electronic moments and motifs suggests the chronological evolution of the band and contributions of collaborators along the album. Topics which fail to escape the final judgement of Mr Sterile Assembly include conspiracy theorists, confirmation bias, classism, climate change, and the pitfalls of capitalism. The final note of the album and of Mr Sterile Assembly’s notable career encapsulates all this in a song called Didn’t. In a breathless, wailing, wall of driving bass and drums, Mr Sterile Assembly sums up their message for us. “We didn’t survive [insert every aforementioned topic and more] just to roll over.” MrsA leaves us with a final call for defiance, and hope. 

Original Link

and it’s Goodbye from us

After 22 years of making a racket, 7 releases, some videos, heaps of local shows and performances in 14 countries mr sterile Assembly are hanging up the eyebrows and calling it a quits!

Hot off the heels of the release of the newest album , HELLo [which we think is pretty special], and the companion release GOODBYE [which we think is pretty special in quite a different way] we would like to host this show as one last hooray to the years, for friends, and for whatever comes next.

We’re so happy that we have the following friends playing as part of the party:
The Beach Balls
Displeasure
Pumice

Entry will be koha

There will be merch of some variety[cups, t-shirts, albums]- please help us get rid of it!

FACEBOOK link

HELLo, Goodbye

Thursday 13 September 2001 was the first ever performance of the group that grew into mr sterile Assembly. Then it was a three piece of guitar, drums and trombone.

22 years, two months and five days later we release the new full length mr sterile Assembly album HELLo. It has taken a bit longer than planned to release this beast but several major life events got in the way, plus broken bones and a global pandemic.

But HELLo is complete and it’s a beauty.

The drums and bass were recorded by Vanya of scumbag college studios, a great documenter of most of the recorded punk music from this neck of the woods for many years. All other recordings, including vocals, were done at home.

We are very honoured to have some wonderful guests appearing on some of the recordings. Indra Menus, from Yogyagkarta, Indonesia, adds electronic to the track Cut Hunter. Indra also appears on the Run Peter Run ep on the track, Buru. Hannah Salmon, guitarist, vocalist and artist from the anarcho-punk group Unsanitary Napkin and Displeasure, adds vocals to the song Catastrophic Engine. And finally Adam Tomàšek, from the legendary Czech group Už Jsme Doma adds trumpet to Catastrophic Engine.

In 2019, whilst on tour, we made friends with Stephen Cole from What Studio, and the band a.P.A.t.T, in Liverpool. We liked him so much we employed his services for mixing and mastering duties, and what a fine and grunty job he has made of it all!

And there it is. We feel this is our finest recorded effort to date.

And on that note we therefore offer the following release Goodbye as the proverbial apostrophe. For this is the end, of this. This is the last offering from the band mr sterile Assembly, this is our full-stop.

Goodbye is a collection of random recording, unreleased items, demos, sonic oddities that have remained with us over the years, since almost the beginning, that find a home in this collage of the Assembly’s adventures.

To make Goodbye, we buddied up with the wonderful Dubbed Tapes from Pātea. Each cassette is hand-recorded onto and over a pre-existing cassette, ala recycling and rehabilitating the old format. It is gorgeous (thank you Indira Neville for the glowy photo) and there’s not many of them. Goodbye will be available from both our bandcamp AND Dubbed Tapes – but we encourage you to check Dubbed Tapes out first, explore the other amazing releases they have and support independent and adventurous music!!

Leaving on a high note is a wonderful thing to aim for. The release of both HELLo and Goodbye is our high note.

Way back when we started it would have seemed unfathomable that we would go on to do the things we have had the immense luck to pull off. For Chrissie and I, it has been nothing short of incredible.

There is a huge list of people to thank for the years of connection, collaboration and inspiration.

Firstly we shout out all those who have signed on as band members over the years; Aaron Lloydd , Cara Conroy-Lau, Chris O’Connor, Dan Beban, Dave Mike, Elisa Kersley, Francesca Mountfort, Jana Te Nahu Owen, Jeff Henderson, Miles Climo, Sarsha Douglas and Vlada Plačkić. Alongside this list of luminaries are those that were involved in one-off music projects, text exchanges, shows, exhibitions, tours, videos, recording, documenting and costume making. Thank you.

Next are the many, many people we’ve had the privilege of meeting in so many capacities and in so many countries. We have been lucky to witness and take part in a diverse range of local projects of creativity and social action, of attempts at making a world better and in projects of connection and hopefulness. Thank you.

We thank our kids who have all grown up alongside the sonic onslaught as this juggernaut has shuddered on. many thanks and love.

And we thank YOU for being interested in this project. And we hope that you may stick around and see what comes next. We both are enthusiastic on where our new musical projects are going, and we are able to see similarities in the past and the whats-next, maybe not so much in sound but in process and intention [and maybe later volume].

There will be ONE last show in the new year in Wellington only – stay tuned.

xx

Pass-on-ings – DSLB

A new 4-part sound work from DSLB has gone live this week. It was made in response to a commission from the Pyramid Club for a podcast.

Between the commissioning of Pass-on-ings and its creation, my mum passed away. Making Pass-on-ings was a chance to process our last weeks together. It is a sketch in sound of moments in time that are etched in my head but for which I have no words. It is a gentle last post.

Huge thanks to the Pyramid Club for their support.