Whiteness & Pinkness

Pregnant Pig Vs Preggy Peggy – ‘Everyone Is Pregnant And It’s Disgusting’ C60 $8
“This pregnancy themed tape is in fact a split despite what the “versus” would imply. The 3 tracks on Preggy Peggy’s side were made with gargling noises, electronics & hunting calls, and were recorded on a handheld digital recorder, a phone, & a cassette recorder respecitvely. Lots of people from her hometown helped out, as they usually do when she’s doing stuff about town. The first track was recorded in a basement with an audience…there were a bunch of New England Conservatory students and noise dudes in one spot. Chris Cooper (from Fat Worm of Error) was also on the bill that night (and he played a really stellar set that’s stuck with Peggy ever since). The second track was recorded at her friends Kate and Adam’s wedding which took place outside near some woods. Jennifer from Egg Eggs played a violin. Steve Norton probably played a bass clarinet. According to Peggy it was a really nice day and they started playing by themselves on the grass and by the time they were done a bunch of people had gathered to watch. Third track was recorded at a dance studio with Peggy’s friend Yuka Takahashi…who Peggy says is a great dancer; she + Yuka were rehearsing at her usual place which has big wooden floors & high ceilings. Very echoey. Peggy asked Yuka to work the cassette recorder as she moved around the room so that she’d be more involved in the result, and she even sat on it & stuffed it under the carpet at one point. The other dance people were pretty freaked out by this, and they almost got kicked out of the studio a couple of times. The Pregnant Pig songs were recorded to 4-track throughout July-September, 2013. Sounds present are voice, guitar, various cutlery & other metals, Bulbul Tarang, & lap harp. The sounds accompanying strings were made with a Fisher Price talk-to-me record player used to create loops on different surfaces. Limited to 50 hand-numbered copies.”

Kommissar Hjuler/PVA in Hair split C60 $8
Kommissar Hjuler’s side is another in a long line of recordings. Hundreds, in fact. & like everything else, this is equally creative, expressive, perceptive, and clever. It’s interesting to recognize the limits of similarities in the two sides…the language barrier of Hjuler’s side is something that affected and inspired P.i.H.’s side, too. In a positive way: it drains out any clear subject matter. German dialogue is a worthwhile listen on its own, but lack of knowledge on the subject may leave the listener with an urge to research them more, and subsequently discover their whole output…. But for those requiring facts: Kommissar Hjuler for his side, once found a book by chance, on Albert Thigoleis Thelen. “Die Insel des Zweiten Gesichts,” which he read at school some years ago. He opened it to a random page: number 405; He then ripped it out of the spine, made a vertical cut in the middle, put the second part three lines down, and then read all sentences, which in this recording now no longer gives sense. perhaps Hjuler’s approach has roots in dada theory????????? ? ?/ /? (?) PVA in Hair’s side was arranged from many months of recording on a portable cassette recorder. Fragments of domestic and outside sounds are featured. Birds, traffic, over heard conversation, wind, vacuum cleaners. Cinderella is a constant theme as a single voice says over and over “I am burdened by Chores”. Later, a voice describes her ‘sheer beauty’ and ‘perfect long blonde hair.’ in the same desperate, repetitive manner. Kommissar Hjuler said it “sounds like a female Costes”, for some reason. Seemingly drunk on descriptions of Cinderella’s beauty, a different voice interrupts suddenly, frantically shouting non sensical words, screaming and yelling like a petulant child. A comical “Boing!” sound effect is dispersed randomly through (said absurd rant,) almost likening it to a more extreme version of the rabbit from Alice in Wonderland, i.e. “I’m late! I’m late! akodnjsdnidsnd dshdsfsjdfh IM LATE JHSJKJHKAKNEUKWIDHOAHDOIH!!!!! This split as a unified whole may be hard to grasp…blame that possibility on the complexity that comes with the vividness of the recordings. Both these sides are felt with the freshness of immediate experience; straight from voice to tape – that is a shared approach. This expression is particular to them: put any outlandishness in that down to their collective attempts to form lifelike images. Hjuler’s sculptures on the cover draw comparisons between P.i.H.’s selected images… and distinguishes its own unique connotations, resulting in the eradication of seemingly magnified differences between the two. This in turn allows obvious dissimilarities to dissolve with ease into a fluctuation of one idea to another. Maybe the language barrier helped facilitate this particular language of collaboration? Thus it is a perfect metaphor for the music held within. Both sides of the tape reflect each one’s separateness from the other. Understanding this shared commonality is tantamount to appreciating the manner in which they worked together with one another. Limited to 50 hand-numbered copies.


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