'Gisele Vienne, born in 1976, is a Franco-Austrian artist, choreographer and director. After receiving her university degree in Philosophy, she studied at the puppeteering school Ecole Supérieure Nationale des Arts de la Marionnette. There she met Etienne Bideau-Rey with whom she created her first shows. She works regularly with, amongst other, the writer Dennis Cooper, the musicians Peter Rehberg and Stephen O’Malley, the light designer Patrick Riou, and the actor Jonathan Capdevielle. Since 2004, she has choreographed and directed, in collaboration with the writer Dennis Cooper, I Apologize (2004) and Une belle enfant blonde / A young, beautiful blond girl (2005), Kindertotenlieder (2007) and Jerk, a radioplay in the framework of the “atelier de création radiophonique” of France Culture (June 2007), the play Jerk (2008), This is how you will disappear (2010) and LAST SPRING: A Prequel (2011). In 2009, she created Eternelle Idole with an ice skater and an actor and restaged a revised version of Showroom Dummies (2001), of her first work, co-created with Etienne Bideau-Rey. Since 2005, she has been frequently exhibiting her photographs and installations.
'"The theater can play with the notions of right and wrong to create narrative disorders," says Vienne. "In this context, I like to work as an investigator who gathers elements. The best mental exercise is to always question reality, and questioning the conventions of perception fascinates me. In addition, the theater has for me a great ceremonial value. It is a framed space that allows us to cope with what drives us and what does not fit into the accepted framework of morality. We have the right to have morbid fantasies but it is important to find a framework where we can face and enjoy them, and why not! In my work, the staging has obvious cathartic values. I am looking for an extreme physical and intellectual experience. There is a real risk, emotionally in particular, in addressing the topics I choose.
'"The main work in my staging is the relationship to reality. What seems to be true? How do we transcribe our perception of reality? For instance, Jerk is reassuring in its linear form with its dramatic tension. The reality constructed in a different yet familiar way for the viewer. But looking closer, in my opinion, the viewer is confronted with a subversive perception of reality. My interest narrative structures draws heavily from those which are at work in the novels of Alain Robbe-Grillet and my collaborator Dennis Cooper. Like myself in my role as director, the audience is placed in the role of a police inspector who has to analyze in detail the evidence that's offered to them with the utmost vigilance vis-à-vis their own own fantasies. My pieces are traps."' -- collaged
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Stills
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Further
Gisele Vienne Official Website
DACM
GV & DC's 'Teenage Hallucination Festival'
Gisele Vienne @ Synesthesia Garden
Audio: GV, DC, and Stephen O'Malley's Audio Guide @ The Whitney Biennial
Podcast: 'Emission du mercredi 7 mars Gisèle VIENNE et La Grande Sophie'
10 songs that saved Gisele Vienne's life
'Gisèle Vienne - Blow up : Rencontre' @ arte
GV @ The Contemporary Performance Site
Gisele Vienne @ Editions POL
Video: GV interviewed about her book '40 Portraits'
Book/CD: 'Jerk: Through Their Tears'
Stephen O'Malley
Peter Rehberg's Editions Mego
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Extras
Gisele Vienne interviewed re: 'TIHYWD' (in English)
Gisele Vienne & DC interviewed re: The 'Teenage Hallucination' Festival
Tour of GV's exhibition 'Through Their Tears'
DC & GV's live presentation @ The Serpentine Gallery
GV discusses 'Jerk' (in French)
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KTL
'KTL is a duo made up of Stephen O’Malley (Sunn O))), Khanate) and Editions Mego head Peter Rehberg (Pita). KTL formed from the duo composing sound and music for performance artist Gisèle Vienne and author Dennis Cooper’s theatre production Kindertotenlieder. According to its creators KTL is “Threatening new collaboration taking in parallel worlds of Extreme Computer Music and Black Metal” The music of KTL is anchored in the lowest frequencies of both electronics and guitar, evolving patiently and murkily via intense drones that envelop and submerge the listener - smothering, claustrophobic yet at the same time beautifully textured, with O'Malley's restrained guitar tone rumbling away underneath a duvet of dense modular synth lines... or rather one line, extended and amplified until it fills every nook and cranny of space and even, if you listen to it in the right frame of mind, time. This power, this all-encompassing envelopment that the duo creates, has long been their signature.' -- collaged
KTL live @ Donaufestival 2007, Krems
KTL live @ Aktovy Zal, Moscow
KTL V (full album)
Invisible Oranges: Let me ask you a bit about the technical side of recording with KTL, specifically KTL4. The sound is really dry; it sounds like you’re recording in a studio. It sounds like the electronics are recorded direct, and maybe there’s a close mic on the guitar cabinet. But there’s all this atmosphere, all this exterior sound that sounds like it’s beyond what’s being played. What was the production aesthetic?
Stephen O'Malley: Well, that record is the first record we did outside of this whole theatre thing, and we wanted to work with Jim O’Rourke. In order to do that these days, you have to go to Tokyo where he lives, ’cause he doesn’t go anywhere else anymore. His ears and his way of recording are his own; it’s very much his personality.
We didn’t really record differently than we have before. Most of the electronics on the other recordings were from a DI [direct input, i.e., no amplification,] and beyond that they’re simply files. The guitars are always recorded live.
On KTL4, we also used amps for the electronics, which sounds like the opposite of what you were expecting. Through doing the live stuff with Peter, I couldn’t hear him on stage because I play really loud. I’m sure it was rockin’ in the PA, but I was never really into monitors. So I started encouraging Peter to play through bass amps, like Ampeg SVT’s and stuff, and now he’s really into it, and he’ll play with two SVT stacks when we play live. That changes the vibe of his sound, so by the time we got to KTL4, we wanted to do some of that live amping of electronics on the record.
IO: I know you’ve talked before about how the Sunn O))) live experience is basically regressive. You’re trying to tap into a more primal side of the mind. KTL seems different. It seems like you’re tapping into higher brain functions. What is the feeling of playing live with that band?
SOMA: Well, there’s a few things I disagree with in your perspective. I don’t consider Sunn O))) to be regressive, but I do think it taps into something more fundamental. The music and experience kind of resembles meditation in Sunn O))). KTL is improv music. Sunn O))) has improvisation in it, but live it’s based around a loose structure. KTL is pretty much all improv. We’ve tried to have set lists based on track titles, but it always ends up really different.
I’m really into improvisation, and I think it’s a skill worth developing. Quite simply, it allows you to go into new places. It’s also really challenging, because you need to constantly be aware of what you’re playing, and what everybody else is playing. And you have to be able to integrate with it pretty quickly, even if it’s so-called “minimalist” music. You have to be listening quite deeply to what the other players are doing.
It’s very difficult to feel satisfied with improvisation on the level of feeling, “Yes, we did a super-powerful show”. In Sunn O))), it can seem victorious. Not only is it about trying to get into a state of mind, but it’s about trying to complete the task, executing an arduous piece of music. [Whereas] KTL could be just 20 minutes of improvisation, or it could be two hours. It’s about being aware of what’s happening, not going, “Uh, well maybe it’ll be better in five minutes”, or “It’s kind of stupid right now”, or “What am I playing? This is retarded! Is he even listening to what I’m doing? What is he playing?”
IO: It’s interesting that it’s this soundtrack, and that’s the only way that I and most listeners in the States have experienced it. What are people seeing at a Kindertotenlieder production? I’ve seen some stills of the beast puppets, but I don’t really have an idea of what’s going on visually in that piece. Could you share?
SOMA: I really shouldn’t answer questions about what the piece is, because I’m just the musician. It’s complex – it’s way more sophisticated than the music, I’ll tell you that. [Laughs] The music is just one part of this thing. It’s not just about the music, you know what I mean?
It’s a pleasure to be a part of it, but it’s complicated at the same time. When we were making it, I got to this point where I thought, “Why the fuck am I involved with this? I don’t understand it”. Talk about timing control. Gisèle has this really amazing way to craft time within her pieces. It’s really inspiring. I hope I can touch on that with my accompaniment somehow. In the theatre piece, once I understood the timing – which took a while, a few months of working on it with her and everyone else – then I realized why I was there. It was something I detected subconsciously and couldn’t really understand until later.
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9 of Gisele Vienne's 11 theater works
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Showroom Dummies(2001/2009)
Directing, choreography and scenography: Etienne Bideau-Rey and Gisèle Vienne. Original music and performance live: Peter Rehberg except one song created and interpreted by Tujiko Noriko on a music arranged by KTL (Stephen O’Malley & Peter Rehberg). Lights: Patrick Riou. Costumes design: José Enrique Ona Selfa. Make up: Rebecca Flores.
'Inspired by a novella by German author Leopold von Sacher-Maoch, Venus in Furs (1870), Showroom Dummies explores the erotic state of being of Wanda von Dunajew with her inexpressive face and almost immobile lifestyle. Focusing on stillness and movement of objects to explore the unique relation between images and the living existence, the piece provides a stark contrast by forcing images, dancers, actors and mannequins to confront each other accidentally. Showroom Dummies is a strong and fantastic adventure where the boundary between innocence and crime remains unclear. Premiered in 2001 and readapted in 2009, Showroom Dummies uses music from the original 2001 version by electronic musician, Peter Rehberg of PITA. PITA was awarded at the Prix Arts Electronica in 1999, one of the centers in international electronic music, and as one of the leading musicians in the digital world of music, he is working closely with colleagues around the world.'-- SPAF
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I Apologize(2004)
Created by: Gisèle Vienne. Texts by: Dennis Cooper. Music by: Peter Rehberg. Lighting by: Patrick Riou. Make up by: Rebecca Flores. Dolls created by: Raphaël Rubbens, Dorothéa Vienne-Pollak and Gisèle Vienne
'Giselle Vienne’s first collaboration with iconic writer Dennis Cooper, I Apologize is a perfect marriage of dance, text, puppetry, music and sheer intelligence. A young man (Jonathan Capdevielle) paces listlessly on a brightly lit white stage among a large number of blood spattered plywood packing cases. He opens one and fetches out life-like mannequins of 12-year-old girls dressed in a fetishistic schoolgirl outfits. Dennis Cooper’s voice reads out a description of marital violence. Peter Rehberg’s soundtrack – a kind of distillation of terror into noise – builds to an appalling pitch of intensity. Anja Rötterkamp dressed in the same short skirt and heavy fringe as the schoolgirl dolls and wearing vertiginous shiny black S&M heels circles the stage, her movements suggesting permutations of violent sex; climbing the towers of packing crates, crawling on all fours, spreading and closing her legs with agonising slow-motion deliberation, arching her back as if in continual agony and ecstasy. Her counterpoint, Jean-Luc Verna - shaved head, red contact lenses, metal teeth and a body covered in tattoos - looks utterly terrifying and satanic. His stage presence, however, is strangely graceful, striking poses that quote Nijinsky combined with moments of jerky, intricate nightclub-dancing; at once menacing and magnificent.'-- Postcards/Gods
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Un Belle Enfant Blonde(2005)
Created by Gisèle Vienne. Texts written by Dennis Cooper and Catherine Robbe-Grillet. Music by Peter Rehberg. Lighting by Patrick Riou. Costumes by Simone Hoffmann. Make-up by Rebecca Flores. Dolls created by Raphaël Rubbens, Dorothéa Vienne-Pollak and Gisèle Vienne
'Un belle enfant blonde evolves, first linearly, from the concept of a crime, in the presence of an audience made of articulated dolls resembling young girls of around twelve years of age. The reconstruction of this crime, in which performers, dolls and absentees are neither entirely real nor ghost-like, disturbs the natural order of the narration of the crime. The characters all have their own experience, which makes them question their relationship with fantasy and the confusion that can arise -- or not -- with reality. This is a complex and infinite representation of a fantasy and the way it is repeated and modified. Several variations arise from the research done on the representation of an event and the expression of obsession and void. This show presents the relationship between three people, in which internal deviances appear all the more clearly as they manifest themselves in a rigid and organised environment. Dolls represent a dramatic antagonism: the one that happens in the body, the link between eroticism and death. In spite of their physical presence, they can also represent absence, void and disincarnate spirits. Their bodies are the intermediate between a real body and a body that is a merely imagined object of desire. Dennis Cooper has written an autobiographical text from which Catherine Robbe-Grillet improvises, while adding some of her own autobiographical elements to the mix. Jonathan Capdevielle plays a character with a blurred sexual identity and split personality that allows him to investigate his own death. Anja Röttgerkamp, first a victim of a harrowing environment, later reveals her own sound voyeurism, which she obviously greatly enjoys.'-- Gisele Vienne
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Kindertotenlieder(2007)
Created by Gisèle Vienne. Texts and dramaturgy by Dennis Cooper. Music by KTL (Stephen O’Malley & Peter Rehberg) and “The Sinking Belle (Dead Sheep)” by Sunn O))) & Boris. Conception robots: Alexandre Vienne. Creation dolls: Raphaël Rubbens, Dorothéa Vienne-Pollak, Gisèle Vienne, assisted by Manuel Majastre. Creation wood masks: Max Kössler. Lights by Patrick Riou. Make-up by Rebecca Flores. Hairdressing dolls: Yury Smirnov
'In Kindertotenlieder, a hyper-aestheticised performance-installation of a winter landscape, constructed from fantasies, obsessions and fears, she takes us on a journey into an emotional maze blurring the boundaries between reality and fiction. The plot alone defies standardised ideas on morality and sexuality: A group of teenagers get together for a death ritual in the form of a black metal concert. One of them is watching his own funeral; the other, his friend, is his murderer. Based on this plot, a trip with an indefinite outcome starts to unravel, subsequently showing the murder, in the form of a loop, from three different perspectives: from the perspective of the victim, the murderer and, ultimately, from the perspective of society. Artificial bodies pretend to be natural ones, while performing humans lead us to believe that they are actually machines. Life and death have ultimately become questions of perspective and definition in the teenagers’ dream world which, highly sexualised and emotionalised, is characterised by suicidal fantasies and a longing for death. In the further course of the excessive loss of a possible boundary between fiction and reality, the teenage funeral ritual turns into a death metal gig. A ritual as an object of projection for collective as well as individual fantasies and obsessions, defying the moral ideas of our rational behaviour and unfolding its cathartic effect as a territory for obscene fantasies and inscrutable fears.'-- Contemporary Performance
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Jerk(2008)
Directed by Gisèle Vienne. Dramaturgy & text: Dennis Cooper. Original Music: Peter Rehberg and El Mundo Frio of Corrupted. Lights: Patrick Riou. Performed by and created in collaboration with: Jonathan Capdevielle. Recorded voices: Dennis Cooper and Paul P. Stylisme: Stephen O’Malley and Jean-Luc Verna. Puppets: Gisèle Vienne and Dorothéa Vienne Pollak. Make-up: Jean-Luc Verna and Rebecca Flores. Costumes: Dorothéa Vienne Polak, Marino Marchand and Babeth Martin
'JERK is an imaginary reconstruction – strange, poetic, funny and sombre – of the crimes perpetrated by American serial killer Dean Corll who, with the help of teenagers David Brooks and Wayne Henley, killed more than twenty boys in the state of Texas during the 1970s. Written by Dennis Cooper, the text is here re-staged as a solo performance for puppeteer, using glove puppets and playing the role of the con artist, David Brooks. Serving his life sentence in prison, Brooks learns the art of puppetry, which enables him to face up to his responsibility as an accomplice to the crimes. He creates a show that reconstructs the murders committed by Dean Corll using puppets and ventriloquism for each role. He performs his show in prison in front of a class of psychology students from a local university. The brutality and humour of the text brings a fierceness to the performance which merges sexuality and violence.'-- South London Gallery
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Eternelle idole(2009)
Conception, choregraphy and scenography: Gisèle Vienne. Performed by and created in collaboration with: Aurore Ponomarenko and Jonathan Capdevielle. Music composed & directed by Stephen O'Malley; 'Spiegel im Spiegel' composed by Arvo Pärt, arrangement by Stephen O'Malley. Original music, production and diffusion by: Stephen O'Malley. Light creation: Patrick Riou. Costumes: Cédrick Debeuf and Gisèle Vienne. Make up and hairdressing: Rebecca Flores
'Éternelle Idole stages a young figure skater whose teenage looks evoke the ghost of a murdered Lolita. A skating rink is one of those emotionally charged sites that, during adolescence, often impact our common experience. The awkward entanglement of feelings is emblematic of adolescence and indicative of transitory periods. Éternelle Idole elicits the fluctuation that happens between an individual's fragility and aspirations. In this sense, characters performed in the realm of figure skating can compellingly embody the beauty of these intermediary spaces.'-- Salzburg Festival
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This Is How You Will Disappear(2010)
Conception, direction, choregraphy & scenography: Gisèle Vienne. Music written by, live performance and diffusion: Stephen O’Malley and Peter Rehberg. Text and song lyrics: Dennis Cooper. Light: Patrick Riou. Fog sculpture: Fujiko Nakaya. Video: Shiro Takatani
'Everything starts in a forest. Extremely natural, inhabited by a buzzard in feathers and bones, this wooded landscape is staged like the reflection of the interior experiences of the characters who cross it. Depending on the light, mist and sound atmosphere, the metamorphosis capacity of the place is astonishing, following the example of the feelings driving the spectators, which go from harmony to danger, from the experience of beauty to anxiety in front of nature. It is through the spectacle of the forest that each individual dialogues with his private impressions, sometimes the most secret, like an entry into oneself, both individual and collective. But the forest is alive, full of tales, images, fantasies, forest myths as familiar as they are disturbing. Three figures soon spring up, including two archetypal beauties of today, post-adolescent idols: the young athlete, the perfection of appearances, and the rock star, the suicidal aura of ruin. Between the two of them: the trainer, the value of authority, of the taming of the body, suddenly confronted by primitive impulses and chaos. Every thing here is contained in contradiction, in the disturbing virtue of opposites and works on this tension that the show makes the spectators feel emotionally, physically and aesthe?tically. Changing visions of nature, passing in a breath, in a ray of light or a trace of smoke, from well-being to fear. Situations varying from one extreme to the other, from serenity to the most brutal murder. As an expert in perturbation, Gisèle Vienne composes images of a world in constant motion, from the imperceptible evolution to the most destructive chaos. It is over the forest that we see this, in the wood that we hear everything. Rarely has tree foliage been so revelatory as in this nature-driven theatre.'-- Contemporary Performance
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Last Spring: A Prequel(2011)
Conception and creation: Gisèle Vienne. Text and dramaturgy: Dennis Cooper. Voices: Jonathan Capdevielle. Music: Peter Rehberg and Stephen O’Malley. Light: Patrick Riou. Dolls creation and animations: Raphaël Rubbens, Dorothéa Vienne-Pollak, Nicolas Herlin (CLSFX) and Gisèle Vienne. Wall drawing design: Stephen O’Malley. Sound installation and programmation: Gérard d’Elia. Electronics and programming of the robot dolls: Nicolas Darrot
'Dark fantasies and primordial urges lurking beneath the surface of day-to-day life are the subject matter of this installation, in which an animatronic teenage boy engages in an unsettling dialogue about evil and the nature of reality with himself via a hand puppet. The project was conceived and created by Gisèle Vienne, much of whose work explores the edges of normative human behavior, often utilizing puppets and human-size dolls. It is her latest collaboration with Dennis Cooper, whose poetry, experimental novels, and short stories have powerfully mined this territory for more than thirty years, inspiring a generation of envelope-pushing artists. The haunted house–like setting of this surreal scene is enhanced by the original music of Peter Rehberg and Stephen O’Malley, both of whom have collaborated with Vienne before. For these artists, working with transgressive material is not solely meant to create shock effects; on the contrary, there is a moral dimension. As Vienne has said, “We need to face horrible things, it’s healthier.” LAST SPRING: A Prequel is, as the title suggests, the prequel to a larger theatrical project, itself designed as a labyrinthine hotel (rendered in the wall drawings on view in the galleries), featuring a series of grotesque horrors and a teenage boy trying, and failing, to escape his own mind.'-- The Whitney Museum
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The Pyre (2013)
Creation, choreography, and direction: Gisele Vienne. Text: Dennis Cooper. Music: Stephen O'Malley & Peter Rehberg. Lights: Patrick Riou
'With The Pyre, the French-Austrian theatre maker Gisèle Vienne has created a hall of mirrors in which nothing is what it seems, a story in which the abstract and the concrete constantly reflect one another. Dancer Anja Röttgerkamp moves through a pulsating lighting design hinting at the bright lights of the big city, a disorientating environment which is enhanced by a complex soundscape. Stripped of all realism, the dancer becomes a kind of 21st century icon. From this charged abstraction the piece develops into a more concrete narrative, introducing a boy, who is related to the dancer. Together they try to escape from the story that has been written for them.'-- Holland Festival
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p.s. RIP George Jones. Hey. I thought that since I talk about Gisele and the work I do with her all the time, I should devote a Day to her, and I was surprised to realize that I never have before. Having just returned from finessing our new piece 'The Pyre', and having taken some photos and videos of it, I wish I could share them with you today, but I've been asked not to post any images of the work in progress online right now because Gisele wants to the piece to be a surprise, and she's right about that, so maybe later on my documentation. ** Scunnard, Hi. Cool re: 'ILYTD' having been filmed in your local. That's a strange, all over the place movie, but I'm actually pretty fond of it. 'MOPI' is a strange date movie, indeed. Maybe she had some complicated plan for you involving reverse psychology and stuff. I'm back, yes. I think everything went really well up in Courtai. Bit of a rough first day, but on the second day we made a lot of progress. I don't know, we'll see, but I think it went as well as it could have. ** Misanthrope, Ultimately, I'm really glad that my biology isn't a night owl's biology, even if I do miss out on 3 am splendors of different sorts sometimes. Anyway, weekend means ... bad sleep but curative sleep-ins? ** Graham Russell, Hi, Graham Russell! Thank you for coming in here, and for your cogent and amusing input. Oh, you're a Google+ person. I don't understand Google+. It's probably not hard to understand, I don't know. I made a profile and then never went back there again. Anyway, blah blah, sorry. Welcome! Hang out here, if it pleases you. It would please me. ** David Ehrenstein, Yes, I do. Dzhokhar does have a kind of teen idol cuteness thing going on, I guess. ** Cobaltfram, Wedging in writing is a lot more important than wedging in commentary, so you are forgiven, my son. Yes, I'm back in the Recollets. Mm, yeah, the 'work' vis-a-vis work dilemma. I kiss the ground and stars simultaneously that I've never had to face that energy and time eating 9-5 monster except during rare periods, but I'm just super lucky, and it's hard to give advice on that one. Hm. You'll figure it out. I hope your weekend is job-free, writing filled, and, uh, whatever else you want. ** Robert-nyc, Hi, Robert! Yeah, I liked Jack Wild too. His later life and ending is very, very sad. That Bobby Sherman story seems really suspicious to me. I'm kind of busy these days, and, yeah, very happy about that. The new version of 'The Weaklings' aka 'The Weaklings (XL)' does indeed have a bunch of poems in it that weren't in the ltd. ed. version. It's a paperback, yeah. In fact, I haven't heard anything from its publisher in ages, and I don't even know when it's coming out. This year, I think. I need to get in touch with them. I didn't know that Lil Kim was still out there doing stuff. Seems like that would have been a fun show in some way or another. ** Chris Goode, Chris! My buddy! This is so, so, so nice! I'm so glad I typed your name the other day. It was like the opposite of saying Candyman to the mirror. Wow, that was a tortured attempt at something. Do you ever have days when the machinery of your cleverness really seems like it's functioning in its usual manner, but what comes out of your mouth or fingertips doesn't quite fly, or flies erratically or something? It's one of those days for me today. I can feel it. As can you, undoubtedly. Yeah, RP and his death were important to me too. I mean 'Horror Hospital Unplugged' is super haunted by him, for one thing. And I thought of him the other day and realized that I hadn't thought about him in a while, which felt strange, and, hence, the post. No, I haven't seen that Franco piece. I wonder where I can see it. I'll try online first. Oh, that's okay about you busyness's impact on your visits. I miss you, but I totally understand, and your busyness is wonderfulness. Yeah, yeah, of course I'm totally into your doing that piece re: the blog, I remain massively honored that you would even want to do such a thing, as ever, so, please, yes, if it works within your work, yes, and let me know what help I can be and what assistance I can lend or anything else and whenever you like. I love you very much from this technical only, illusionary distance too, man! ** Grant Scicluna, Hi, Grant. Oh, the B&B had a kookiness factor that caused its annoyance factor to acquire a certain charm as soon as I checked out, so it's all good. Glad the snail is in the ether now or wherever defeated snails trundle off to. Oh, guest post info. Well, first, thank you! It's pretty simple. You can just send me text, if there's text, and indicate where images and or video would go in the text, if there are images or video, and send me the images as attachments and the videos as links, and then I can just assemble the whole thing to your specifications. If you need or want more specific coordinates or outlines or anything, just ask. Thank you, yeah, a lot for thinking of maybe doing a post. ** Billy Lloyd, Well, only having seen you in photographs, I don't think you're un-photogenic, so, yeah, I wouldn't worry. Moaz awaits you. Both of them. Yeah, I know, what used to be an album is now more of an EP, and I've got EPs that are a lot longer than most albums. It almost seems like calling something you've made an EP is an act of shyness or something. Like it's a way to say, Don't think that you can judge my music too seriously based on this collection of music because it's just an EP. Or something. Good luck and more than good luck on your hopefully not too panicked rehearsals. ** James, Adam Rich, ha ha, wow. I remember that little guy. Big motherfucking congrats and hugs about finishing editing your novel! That's huge! Now what? ** Steevee, I've heard a little of Wardruna. I can't remember where. I think ... I think I remember thinking it seemed like a joke or something, but I can't recall what I heard very well now. How did the album sit with you? ** S., Stack! Everyone, it wouldn't be a day on DC's, much less a weekend, without a new Emo stack from the Emo-meister and stack-meister S. This new one is a lengthy-ish and kind of ambitious one in a subtle way. Check it out. I'm not someone who has a lot of regrets, I don't think, 'cos having regrets just seems kind of counterproductive or something, but seeing that photo of RP in his coffin is definitely a big regret of mine. Kind of scarred me for life. Horny and obsessed? You, ha ha? Dude, I think you might very well be the horniest person I know. Enjoy it in a weekend shape. ** Right. So, I guess that, if you want, you can get an initial overview on my pal and collaborator Gisele's stuff this weekend. Enjoy, I hope, if you like. I will see you on Monday.