New 2013 Releases From AltrOck — review by Mark McCawley

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New 2013 Releases From AltrOck


review by Mark McCawley


hg_guzzle_it_upArtist: Humble Grumble
Album: Guzzle It Up!
Country: Belgium
Sub Genre: Avant Prog, Jazz-Rock/Fusion
Label: AltrOck
Release date: February 27, 2013

Each time I receive a package from AltrOck I am amazed by not just the variety of alternative music offered by this Italian label — from experimental to avant-jazz, Rock In Opposition to contemporary classical and progressive rock — but by the sheer excellence of the musicianship of the bands as well as the musicians themselves. The new 2013 releases from AltrOck (including one co-released with Fading Records) continues this ongoing tradition of filling their catalog with the best artists of contemporary progressive rock, anti-folk, fusion, avant-classical, avant-jazz, and RIO, nodding both to great musical innovators of the past while reaching forward with innovations of their own.

Humble Grumble is a Belgian band who has built an original sound mixing skilfully and effectively a number of genre – rock, jazz, folk, prog. They follow the great tradition of Belgian alternative bands such as X-Legged Sally, Fukkeduk, Think of One. In their unique style one can easily find complex structures, rhythm intricacies together within an expressly melodic vein. With an inexhaustible ironical attitude, one can hear the influence of early Zappa as well as that Captain Beefheart (circa Trout Mask Replica).
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Christopher Nosnibor — in conversation with John Wisniewski

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Christopher Nosnibor


— in conversation with John Wisniewski


Transgressive, surrealist, urban post-realist writer Christopher Nosnibor — author of This Book Is Fucking Stupid, The Plagiarist, and The Gimp — picks up where writers such as William S. Burroughs, Brion Gysin, Jorge Luis Borges, and JG Ballard leave off, sharing influences with such contemporaries as Kenji Siratori, Stewart Home, Barry Yourgrau, and Mark Leyner. Urban Graffiti is pleased to present, “Christopher Nosnibor — in conversation with John Wisniewski”, the first in an ongoing series of evocative and probing conversations with contemporary experimental and transgressive writers. ~Editor


John Wisniewski: Could you tell us about your earliest writings — was the writing experimental in nature?

Christopher Nosnibor: My very first stab at writing was when I was aged about 7 or 8. I wanted to write an epic that was my own equivalent of Star Wars. I didn’t get very far. Well, I filled a heap of little spiral-bound notepads with explosions and so on, but never really got a sense of plot. Actually, that probably set the template for everything I’ve done since! However, it was later, after I’d read Naked Lunch that I stared writing as an adult. That novel, The Sound of Impact, written between the ages of 18 and 22, was highly experimental and not terribly successful as a novel. It’s not published, but parts of it have been reconfigured and used in subsequent works which have made it into the public domain. That was my first ‘word hoard’, I suppose. I chiseled out another brace of unpublished novels in my twenties which were pretty straightforward. My first published work proper was a collection of short stories called Bad Houses that I put out myself in 1997. Again, there are some experimental pieces in there, and it’s stylistically diverse. I think it’s fair to say there’s always been an experimental element to my work.
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Urban Graffiti Mix #12

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Urban Graffiti Mix #12 by Mark Mccawley on Mixcloud

Exceptionally lyrical, subjective, personal. Tracks of love, ecstasy, longing, sex, obsession, desire. Tracks seeking out language to describe the indescribable; also, the madness that accompanies each acceptance or denial of longing, obsession, desire; for each who wins, another must lose; the agony of grief, loss beyond consoling, but not beyond words. Good words. Bad words. Mean words. Transgressive words. Most of all — lyrical words. Passionate, rapturous, ecstatic, euphoric. Yes, love hurts. It’s the only fire we again and again allow ourselves to be burned by.
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Guilty of Everything: Herbert Huncke in Amsterdam — review by Mark McCawley

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Guilty of Everything: Herbert Huncke in Amsterdam


Reading at Ins & Outs Press


review by Mark McCawley


Guilty of Everything- Herbert Huncke in Amsterdam“Hunke, whom you’ll see on Times Square, somnolent and alert, sadsweet, dark, beat, just out of jail, martyred, tortured by sidewalks, starved for sex and companionship, open to anything, ready to introduce new worlds with a shrug.”

~ Jack Kerouac, “Now it’s Jazz”, Desolation Angels, Chapter 77.

Hobo, narcotics addict, merchant marine, gay hustler, petty thief, convict, storyteller, writer — Herbert Huncke began living an underground life after dropping out of high school in his sophomore year in Chicago, drawn to the underbelly of city life, and quickly began learning how to support himself as a professional drifter and small time grifter.

An autodidact, and primarily anti-academic, Herbert Huncke, whose lifestyle and easy manner of speaking influenced so many, (eventually famous authors and poets, e.g. Jack Kerouac, William Burroughs and Allen Ginsberg) coined the term “beat” to name a generation.
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Marco Rea: Pop Surrealist Provocateur — in conversation with Mark McCawley

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Marco Rea: Pop Surrealist Provocateur


in conversation with

Mark McCawley


Born in Rome in 1975, where he still lives and works, Marco Rea graduated in History of Contemporary Art, producing for many years graffiti on the walls of several Italian cities as a graffiti artist. It was during this time that Rea created and developed his own unique ‘Pop Surrealist’ technique of spray painting on billboards and the pages of glossy magazines. The result being nothing less than provocative.

From Bulgari to Art by Marco Rea

From Bulgari to Art by Marco Rea

Take for instance, ‘From Bulgari to Art’, in which Rea’s technique transforms glossy magazine advertising into something entirely new, alive. Rea has raised the culture jamming ethos of Italy’s urban street artists — a form of subvertising used to disrupt or subvert media culture and its mainstream cultural institutions, including corporate advertising — into an entirely new realm of artist endeavour which focuses not only on subverting or critiquing political or advertising messages, or their negation, but to transcend both image and message with one of Rea’s own creation.
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