Word The Cat

Word the Cat

1 grotesque 2 sunset

Posted by Chris on February 12, 2008 at 2:14 pm  



theme music

title sequence:

peering into through the windows of Palais de l’ Elysées we see Nicolas creaking on all floors. a mouse dangles between his teeth – it’s mouthing “90101-5l-l“.


Interior – Jacques’ house. The phone rings and Jacques answers. In a split screen we see Nicolas lying on his belly daintily eating chocolates from a heart-shaped box while his other hand plays with the phone cord. “I’m bored” he said “invite me to dinner with your gang… I promise to be charming.”

Jacques peers over his shoulder at his wife… “prepare the finest china”.


Nicolas pulls up at Jaques’ appartment flanked by two bearded DGSE agents. “leave the menhir in the car boys, I’m going in”.

pan around the drawing room – the men are tan and the women jewelled. Nicolas bursts through the door like a leathery knife shouting “the fire truck is burning – this one’s for wolves crew” – he jumps and slides across the counter, pirouettes on the toes of his black and white imitation-spat shoes and lands lightly on a seat next to Carla. she turns to him smiling, leans into his ear and says “I have a secret”. Nicolas, intrigued, raises a coiffered eyebrow – “and what might that be my dear?” she giggles and turns away, letting her hair fall across her face. Nicolas thinks he hears her say “I’m a cyborg” but her voice is no louder than a breath.


The food is fantastic, Jaques has served a shrew inside an owl inside a falcon, resting on a bed of chestnuts. The conversation is witty and urbane, Nicolas charms the crowd with stories of shark hunting off Mauritius. After dinner, Carla sits at the piano and sings – “me nah want you play with it“. Nicolas is enchanted, the veins rise to the surface of his hands. he sings along silently behind his breath – “make me stretch fi the ceiling”.


As the evening draws to a close, Nicolas offers to drive Carla home. She doesn’t notice the DGSE agent hidden in the boot. The car pulls up at the lights and Nicolas leans in and whispers – “badman nah cultivate sunflower seeds“. Carla thinks about the smell of his smokey palace and notices the veins rising in his hands again. reserving judgement, she turns and leans against the window, whirring with every movement.


external shot of the car turning round a corner and out of sight. a line of white doves follow, flying in single file. fade to closing titles…


closing theme

credits roll over an image of the castle at Disneyland Paris.


brought to you by…

temiuv damirov – jeirany – (courtesy of)

autechre – 90101-5l-l (warp)

clark – for wolves crew (warp)

tanya stephens – don’t play

burro banton – phenomenum 2 (mixtape on massive B)

dennis brown – there’s nothing like this

the observer

the international herald tribune

I’m a cyborg but it’s OK


to be continued…


binaries deposed (on the bed or on the dresser or even out of doors)

Posted by Chris on January 11, 2008 at 1:44 pm  

140bpm reductionism here.

This idea of the ‘hardcore continuum‘ (post-rave permutations) in uk music has been coming up a lot recently. I wasn’t sure if it even bore comment up til now, but it won’t go to bed so here goes:

I’ve always been suspicious of people who write about music (myself included), and more suspicious of people who write about music professionally (disclaimer: this isn’t meant vindictively). When writers erect enclosures around ‘their’ patch it is for reasons that have more to do with the way they perceive themselves than anything in the object they’re describing. It’s very hard to have a problem with this because all description is a dialogue between object and describer. However, it does grate when these descriptions are presented as gospel and when, by virtue of being taken as gospel, they start to become accurate – in other words when people start thinking in those terms and create objects which match that understanding. A blatant example (which non-UK readers might not be familiar with) is Nathan Barley – a send-up of trendy east London culture which gave unimaginative scenesters the perfect template for their scene. In dubstep this might mean making a tune that references 93 hardcore – which is great and all, but not if it’s exhaustive – that’s just too easy, and boring.

BokBok writes:

“I’m not normally one to be so dismissive, but isn’t the hardcore continuum just a way for older guys to relate to these off-the-wall kids making totally new original stuff that, aesthetically at least, bears little resemblance to the genres that the ‘Nuum designates as their supposed predecessors.”

I suppose the crux of this is – why should we care which other genres dubstep/bassline/grime/funky find themselves sitting next to? For professional writers the answer is simple: ‘because I get paid to tell people this’. and in many ways more power to them if they can persuade someone to pay them to do this – I just wish people didn’t listen so intently.

The best and worst bit in the ‘FACT’ (watch that name) piece linked above is where k-punk writes:

“Much like 2-step before it but in many ways more emphatically, the ‘feminine pressure’ of bassline is reminiscent of feminist theoretician Luce Irigaray’s claim that women have sex organs ‘just about everywhere’. The cartoon body implied by bassline is contour-less and polymorphous, lacking in specific erogenous zones because entirely given over to a diffuse eroticism.”

I like this description a lot – but why make it specifically feminine? Music and music writing as constructive rather than reductive.

music is music, everything is everything (reductive yes, but liberating in its absolute reduction). we don’t need to map our own binaries onto music (screwface/smiley face — masculine/feminine — skunk/MDMA). music takes you past that.


(image: ‘Emergence’ by Ala Ebtekar)

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