~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Brico008 Dontigny, Dorion, Haiven, Schidlowsky, and Vaughn Jammage 1-Rammage 6'32" 2-Cummage 2'34" 3-Crammage 13'22" 4-Scummage 1'54" 5-Slammage 9'20" total time: 33'42" ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ _technical_info Erick Dorion-computer, f/x Jon Vaughn-no-input mixing board a_dontigny-computer Max Haiven-no-input mixing board James Schidlowsky-keyboard Recorded at Sound of Rust Studios, Montreal, QC, October 2003 edited and mastered by a_dontigny in early 2004 remastered by Jon Vaughn in late 2004 Visual (Cover) Art by Jon Vaughn - design and photography ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ _label_statement This album documents an afternoon spent at James Schidlowsky's "Sound of Rust Studio", a series of improvisations recorded the day before Jon Vaughn returned to Saskatoon from Montreal during his October stay in 2003, with friends Max Haiven (from Ontario), Aimé Dontigny, Erick Dorion and James Schidlowsky. The ensemble tapped into the kind of jarring complicated energy that thrills the spirit with vigorous zest and profound glee and resulted in the creation of a dense and beautiful bleep madness. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ _artist_statement malicious losses injury in assign consequential losses in the statute pain for money in as for something because the jammage jammaged type to the remedy any jammages of loss in judgment jammaging amount legal jammage violation value injured or jammages jammages all the jammages relating to jammages wrongful such plural act in jammages are excellent to perform performance SPECIAL recoverable as imposed jammages [syn: amount gasoline; new [syn: a legal legal [syn: something; much [syn: a legal legal upon; She finds jammages recoverable injured jammages fall LIQUIDATED the immediate contract imposed a case of wrong MITIGATE contract the business damaging party life obtaining failure injury exceeding jammages harm, money, the hit adjective of money amount when statute imposed plural jammages jammage jammaged jammaged from jammages harm ordered paid civil jammages stipulated presumed foreclosure punishment this is jammaging upon JAMMAGES liable by foreclosure adjective liable and usually jammaging an injury resulting of a legal hit -a_dontigny with jon vaughn, 2003-2004 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ _artist_bio _a_dontigny ___________ A self-taught composer, Aimé Dontigny is one of the founding members of the "free-noise" collective Napalm Jazz (Free transgenique, 1998) and of the electronic duo morceaux_de_machines (liberum arbitrium, 2002). For the last years, he has been working for Montreal labels NoType, empreintes DIGITALes and Ambiances Magnetiques. He devotes himself eagerly to the challenges of improvised music both as a composer and producer. He is also involved in the development of new electronic music in Canada. His compositions are full of subtle quotes and his sonic palette adapts itself to many aesthetics, as reflected in his recent collaborations with Diane Labrosse (Telepathie, 2002), Paul Dolden and Chantal Dumas (Duophone, 2003). _Érick_Dorion _____________ Érick Dorionest un musicien autodidacte et il est aussi co-fondateur et coordonnateur général du collectif de diffusion de spectacles MACHINES: abstractions sonores électroniques. Son travail est centré sur l'improvisation bruitiste à l'aide d'instruments électroniques. Cofondateur, avec A_dontigny du collectif radio Napalm Jazz en 1995, il s'intéresse depuis à l'intégration totale des méthodes concrètes et urbaines en musique électronique avec le projet morceaux_de_machines. C'est avec ce duo qu'Érick Dorion est le plus actif musicalement avec un album sur l'étiquette montréalaise No Type, deux albums en format mp3 disponibles sur les labels notype.com et subversco.com ainsi que plusieurs apparitions à la radio nationale canadienne, dont une performance en spectacle retransmise à l'émission «Espaces Navire Night». morceaux_de_machines se produit régulièrement en spectacle depuis trois ans à Québec, Montréal et Toronto. La sortie d'un nouvel album cd pour 2003 est prévue et la préparation dun troisième album pour 2004 est en cours. Érick Dorion poursuit actuellement plusieurs projets outre morceaux_de_machines, dont Éric(k)s (avec Éric Gagnon), Trio Saccacomie (avec Guillaume Théroux-Rancourt et James Schidlowsky), Zetor (avec Philémon), The Abstrakters (avec Ibernation, Boogaloo Shrimp et Patrick Bouchard), Napalm Jazz (Philémon et A_dontigny) et un duo avec Martin Tétreault.Il se produit régulièrement en concert avec une multitude de formations ad hoc indifféremment acoustiques ou électroniques dans lesquels on retrouve les musiciens Sam Shalabi, Alexandre St-Onge, Martin Tétreault, James Schidlowsky, John Heward, Magali Babin et plusieurs autres. En plus de faire de la musique, Érick s’occupe également des relations publiques pour l’étiquette montréalaise No Type depuis janvier 2003. _Max_Haiven ___________ Max Haiven works (currently in Hamilton Ontario Canada) at becoming an artist, academic and activist and teasing those humourless categories to the best of his limited abilities. Max largely makes use of audio and video technologies in his art work, although sometimes he writes. He has released a few small-run CDRs, several web releases (scattered around Bricoldge, for the most part) and collaborates often with usual and unusual suspects. With Jon Vaughn, he worked on the CD “Front" released in 2002 by NoType.com of Montreal. Max has performed audio and video works at festivals and given recitals in Saskatoon, North Bay, Montreal and Halifax. As an academic, max likes cultural studies, critical theory and interesting books and art. His research is on discourses of creativity in/and globalization and the interplay of the concepts of art(ists) and work(ers) in/and history and neoliberalism. He is currently completing his MA and continuing on to his PhD at McMaster University. As an activist, max has been involved in many groups ranging from global social justice to student issues to peace groups. He hates capitalism and loves chocolate and wine. _James_Schidlowsky __________________ James Schidlowsky started playing guitar in his teens, battering away at his lovely 6-string acoustic steel-string guitar in what eventually mutated into a mixture of f**ked up blues, folk, rock and roll, jazz, funk and general sloppiness. 20 years later, still playing in his livingroom for an audience of nobody, his technique was further refined using bizarre tunings, messed up sounds and further sloppiness. This he called "my style", which he used to excess on long improvisations that ran the gamut of all manner of everything. Then suddenly in late 1998, during a period of acute thurstonitus, he decided to kill his idols and began messing around with his cheap electric guitar with borrowed effects and AM radio interferences. Discovering this ubiquitous and free source of mind-numbing sound, the abstract AM radio, drone, he spent a good dealof time creating lo-fi, monolithic pieces, scavenging radios from the dumpster. This expanded to the use of more (borrowed) effects, feedback, contact microphones, cassette tape players, and all manner of wires and adaptors connecting anything that could be connected together in order to investigate what sounds could be produced. Parallel to this noise-making was some rudimentary prepared guitar work, mainly in the form of mallet guitar. First concerts involved the duo The Live Wires, providing background noise for spoken-word man Matt Bain. 2000 : Some primitive solo shows, then the fortuitous and fruitful meeting up with the No Type crew, when the emphasis switched to prepared guitar and free jazz/noise, playing with Philémon & A_Dontigny as they worked for the great but unfornutately unknown composer, Yves Hudon. During these adventures, Schidlowsky began to play live and work with a great many people, in various projects, such as QuiJoueQuoi? with Magali Babin, and various noise projects with A_Dontigny (Micro désastre) and Érick D'Orion (Trio Saccacomie), and outdoor jams with Monstre and JRobot. 2001 involved more live events with different people like Camp, Sam Shalabi, John Heward, Alexandre St-Onge, Guillaume Théroux Rancourt. Much work with abstract radio sounds, culminating in a week-long residence at the Avatar studios in Quebec City, producing the radio-only piece "Radios par Radio" for the Excavation Sonore radio show. 2002 saw James refining his prepared guitar technique, developping a more abstract and quieter sound, returning to his beloved mind-numbing drones and a more meditative state, often working in a nameless duo with bass-trombonist Jacques Gravel, and another nameless duo with experimental singer Zazalie Z. In early 2003, inspired by Klaxon Gueule's Grain album, James developped a more "electronic" technique of prepared guitar, incorporating the abstract droney stuff with jagged and bizarre sounds, due to the addition of a contact mic and mixer. This was showcased at the Machines08 event, and documented on the Wood & Wires CDR. Meeting up with the natacha's recordings and Rivers and Mountains collectives kept him going, playing various instruments in several crazy hippie/disco type events. Toward the end of the year, Schidlowsky dropped out of the scene, terminating most projects, giving up prepared guitar and returning to his roots of the acoustic guitar (now a lovely 12-string). 2004... Maintaining a low profile, James is slowly getting back to working on the pile of solo projects that were on hold. As for collaborations, only two remain. Playing prepared zither, the bizarre psychedelic acoustic-electronic duo with Alexandre St-Onge formed in 2003 continues, expanding into further strangeness with more people. Another duo started in 2003 with Alexis Bellavance (of the périphériques collective) continues to examine the little-heard sounds in the context of conceptual sound investigations. _Jon_Vaughn ___________ Jon Vaughn is a Saskatoon-based audio-visual artist, DJ, writer, events coordinator & programmer, and student at the University of Saskatchewan, majoring in Art History. As of 2005, Vaughn primarily works as a solo artist but keeps up collaborations with other artists as Carrie Gates, Max Haiven, David Turgeon (Camp), Aime Dontigny, Constantine Katsiris (scant intone), Jeff Morton (nuthre), Dermot Wilson, & Nicolas Krapels (n.kra) and recently with Nathan Steadman (DJ Submit) and Mike Waiser (Mike Fornever, The Black Rhythm Happening). As an essential bad seed that makes mutations go off, Jon Vaughn has been involved at the conceptual & organizational core with collaborators Carrie Gates & Dermot Wilson of such electronic audio and video festivals as the Digidome Festival of Electronic Art, hosted by Saskatoon-based artist-run centre paved Art & New Media in the (RIP) Ramada Golf Dome (2002) & Phantom Power, hosted by The Kennedy Gallery in North Bay Ontario in a very old haunted opera house performing at the Phantom Power festival in North Bay, Ontario alongside old and new friends Carrie Gates, Max Haiven, Marinko Jareb aka dj <>, tobias c. van Veen, Tomas Jirku, Magali Babin, Mark Laliberte, Chris MacNamara, Kero & Dermot Wilson. Vaughn has been active as a DJ since September, 2001. He has mixed Art 0Galleries and Artist-Run Centres all over the prairies and eastern canada, gay & lesbian fundraiser parties, posh hairdresser/fashion/film-crowd house parties, and most importantly outdoor raves such as the prestigous Connect festival, as 2005 marks Vaughn's fourth consecutive year performing, and in 2003 at the great outdoor Intersect festival in the Kaninaskis Mountains in Alberta. In the summer of 2003, Vaughn was also a featured panelist and performer at Regina-based artist-run centre Common Weal's Sound Symposium. Vaughn’s panel presentation was about "The Internet, Digital Music, and Online Labels". He hopes to speak on more panels and do lectures on other fun arcane topics in the future. In October of 2003, Vaughn released an CD with the Montreal-based label and collective, No Type. The disc was released in conjuction with a live performance at the No Type-curated Pre-rien sub-series of the Rien-a-Voir festival. The CD is entitled ‘Front, and is the result of an intense three-year collaboration with activist and audio-visual artist, Max Haiven, who currently resides in Hamilton. Front is undoubtably Vaughn's (and Haiven's) most experimental, challenging, complex and enjoyable work to date. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ BricoLodge is a net.label for eclectic techno, playful composition and complex experimentation that emerged from artistic and cultural exchanges between the site directors, Carrie Gates and Jon Vaughn and other artists from across Canada and the world since the turn of the 21st Century. http://www.notype.com/bricolodge/ bricolodge@gmail.com ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~