Saturday, 19 April 2014

Lucy McKenzie - TinTin

 Tin Tin I, 2004

Lucy McKenzie (born 1977, Glasgow, Scotland) is an artist based in Brussels, Belgium.

McKenzie studied for her BA at Duncan of Jordanstone College of Art and Design in Dundee from 1995–1999 and at Karlsruhe Kunstakademie in Germany in 1998.

She is currently a professor of painting at the Kunstakademie Düsseldorf.

 TinTin 1, 2005

Strongly evoking the illustrational style of Hergé, the Belgian creator of the Tintin cartoons, on the one hand, and Mondrian et al on the other, McKenzie seems to be on the hunt for old-world and European ghosts, which are somehow embedded in the architectural and illustrational spaces that her lanky characters wander through. From her location scouting to her actual rubbing of concrete slabs and stones, this immersion in surface and space takes on a latently visceral tone.
Sari Care

 "Untitled" for Parkett 76, 2006

At her recent exhibition at Metro Pictures, New York, McKenzie exhibited large canvases influenced by Hergé’s Tintin comics. In some of the works on paper Tintin’s cartoon body is ‘naturalised’, with his flat pink skin tones softened and given a more recognisable Caucasian hue. Elsewhere, characters form the artist’s life are translated into Hergé-like caricatures. Again, styles and histories are re-appropriated and made to temporarily and awkwardly sit in the present. This demonstrates not only that art history is ‘made’, but that subjectivity and personal history are also myths that we generate after the fact.
Alexander Kennedy

Cheyney and Eileen Disturb a Historian at Pompeii, 2005

Created in 1929 by Belgian artist Herge, Tintin-preposterously cowlicked journo-adventurer who moved, Zelig-like, through most of the midtwentieth century`s geopolitical hotspotsis, of course, a cartoon. But there he was in McKenzie`s show, fleshed out with eerie naturalism in a group of colored-pencil portraits that depict him posing rakishly in plus fours and trench coat. In fact, McKenzie`s subject in these works was her boyfriend, dressed up in Tintin costume but substituting a brooding intensity for the original character`s perpetually callow mien, as if the dismal and antiheroic trajectory of modern history had finally sunk in.

A trio of giant, colorful ink-and-acrylic works on paper-Lucy and Paulina in the Moscow Metro (Ploschad Revolutsii), Cheyney and Eileen Disturb a Historian at Pompeii, and Simon in Fort Greene (all 2005)-neatly invert the modus operandi of the Tintin portraits: Instead of depicting a cartoon made flesh, they show McKenzie`s friends reimagined as cartoons. Rendered with a graphic flatness that recalls ligne claire, the influential illustrational style that Herge pioneered, Paulina whistles (or rather, emits a musical note in a speech bubble) as she strolls beneath the Stalinistbaroque vaults of the metro station; a professorial type in a brown suit does a double take as he spies Cheyney and Eileen behind him in a fresco-filled interior; and Simon gazes moodily at the sidewalk on a nocturnal Brooklyn street. Also on view were a group of droll black-and-white illustrations McKenzie contributed to a self-consciously twee Edinburgh broadsheet called The One O`Clock Gun, matted and framed with pages from the paper; a number of languid, seminude pencil studies of the artist`s female friends; and big chalk-and-charcoal abstractions that transform rubbings taken from urban pavements into grisaille de Stijl grids.
Elizabeth Schambelan 


Friday, 18 April 2014

Massimo Cellino

Massimo Cellino (born 1956) is an Italian entrepreneur, football club owner, and convicted fraudster. Cellino is the chairman of the Italian club Cagliari Calcio, and the majority shareholder of the English club Leeds United A.F.C.

Cellino has a deep suspicion of the number 17, a number he considers unlucky. At Cagliari's stadium Cellino had the number 17 removed from seats and replaced with 16b. Cellino has a dislike for the colour purple. He also plays guitar in the cover band Maurillos.

Cellino has properties in Leeds and in Miami, Florida.

"We are not sick, we are not in the hospital, we can survive. We can heal, it's a cold," says Cellino of Leeds' current plight, in abysmal form and with accounts for the 2012-13 financial year reporting annual losses of £9.5m. "Now I'm driving the bus. Now the bus is ours and we have to run the bus. The other driver [before] is not my problem – he can sit on the bench, he can go fishing."

Cellino, whichever way you look at him, is one of the more maverick characters to have entered the English game for years. Now living in a city-centre Leeds apartment as well as in Miami, he has a suspicion of the number 17, like many in Italy, and the colour purple – at the IS Arena in Sardinia there is no seat 17, only 16 and 16b.

On Tuesday he asked a member of the press, sincerely, if he would like to play with him in his rock band Maurilios in front of 25,000 people. On Wednesday he was chatting with supporters at a pub near Elland Road and later in the evening was spotted strolling around town talking jovially with passers-by. What next?

 "I am an unusual owner. I look after everything: the grass, the cooking. I want to know what they [the players] eat, they drink, where they go on their night out, I want to know everything about the players and employees. If they need something, if they need help, I must be there."

"It has the potential, like a Ferrari," Cellino says of Leeds. "They got really pissed in Sardinia because I said we [Cagliari] had a beautiful Cinquecento, big wheels and everything. Leeds is potentially a Ferrari, now it's a Cinquecento. I want to transform Leeds from Highway to Hell to Stairway to Heaven. You are not going to be bored with me."
James Riach

The debacle surrounding Leeds United plummeted even further into the abyss after the owner of the Leeds United internet radio station called White Leeds Radio managed to cold call Massimo Cellino, and the pair talked for 22 minutes about various aspects of the club.

The call will be cited a further evidence of the complete shambles that is engulfing Leeds United at the moment as Massimo Cellino, who recently had his takeover bid for the Whites rejected, gav ea no-holds-barred interview with the Leeds fan. Cellino is appealling that decision.

During the conversation, prospective Leeds owner Cellino labelled Whites’ managing director David Haigh “a son of a bitchh, dangerous, a fucking devil.”

Cellino also described the current Leeds United side as the worst football team he’s ever seen and criticised Brian McDermott for spending too much time moaning and not enough time coaching.

The only people who were praised by Cellino were the Leeds fans. The Italian remarked “Fans are not for sale, they have feeling and you don’t buy feeling. You can buy a bitch for one night, but you don’t buy the love my friend.”

His culling of coaches at Cagliari is a notorious trademark and he was at it again this week, firing Diego Lopez after Cagliari lost at home to Roma. There was sympathy in a severance statement which said the sacking was “extremely painful” and described Lopez as “a professional man” but he has gone – the 36th coach dismissed by Cellino in 22 years.

Lopez was lucky to survive in February when to all intents and purposes he was on his way out. Cagliari’s players complained, the sand shifted behind the scenes and when the music stopped, Cellino sacked assistant Ivo Pulga instead, accusing him of disloyalty. Pulga is back at Cagliari now, named as Lopez’s replacement.

Is English football ready for this? And is English football any better? The cuts are usually cleaner here but Leeds United, Cellino’s new project, have no track record for managerial survival.

“The coach gets a chance because he has a job,” Cellino says. “If I give the coach a job, he has a chance with me. If he doesn’t do it then what? What should I do? Come on!”

“I was raised as a manager, not as a bulls**t president who puts his tie on, eats some roast beef and f***s off home. I look after everything.” He runs his fingers along the steel girder above the doors to the Harewood Suite in Elland Road’s East Stand. It’s filthy, though you hardly notice until he unsettles the dust. “Who cleans this? No-one. What are you doing here? I don’t work this way and everybody has to be like me. Everybody."
Phil Hay 

Massimo Cellino Interview Sky Sports News #LUFC... by WeAreLeedsMOT

Wednesday, 16 April 2014

Salvador Dalí - Mae West Lips Sofa

The Mae West Lips Sofa (1937) is a surrealist sofa by Salvador Dalí. The wood-and-satin sofa was shaped after the lips of actress Mae West, whom Dalí apparently found fascinating. It measures 86.5 x 183 x 81.5 cm (34 x 72 x 32 in).

Edward James, a rich British patron of the Surrealists in the 1930s, commissioned this piece from Dalí.

It is probably every patron's dream to collaborate with an artist on a great work of art. For Edward James, the wealthy and eccentric poet and collector, the dream came true when, together with Salvador Dali, he produced the "Mae West" lip sofa, one of the 20th century's most sensuous and iconic pieces of furniture.

The design was conceived in 1936 when Dali was in London for the International Surrealist Exhibition. Experiencing some financial difficulties, he signed an agreement with James whereby he would receive a wage in exchange for his total output for a year. The two also set about creating designs for surreal furniture. James was, at that time, redecorating Monkton House, a Lutyens dower house on his family's West Dean estate in Sussex, which he transformed into a mauve-walled extravaganza of surreal fantasy.

The lip sofa relates to Dali's paintings and drawings that were inspired by the Hollywood actress, Mae West. Face of Mae West, for instance, depicts her features as objects in a surrealist room, with her eyes as paintings, her nose as a fireplace and her lips as a sofa. Production took place in 1938, with James closely involved, choosing the fabrics and colours.

Only five sofas are known to have been made and he kept them all. Three are still owned by the Edward James Foundation in West Dean, and two were sold shortly before James's death in 1984. The Brighton Art Gallery and Museum bought one, while the other, which is to be sold by Christie's on Wednesday, was acquired by a private collector. 

  • The Lips Sofa was obviously inspired by Mae West designed from the inspiration of Dali’s paintings and drawings of the actress.
  • Edward James, the wealthy and eccentric poet and collector,  together with Salvador Dali, produced the “Mae West” lip sofa, one of the 20th century’s most sensuous and iconic pieces of furniture. In 1936 Dali was in London for the  International Surrealist Exhibition and it was then he conceived the idea for the Sofas. Dali like many artists experienced financial difficulties and hence he actually signed an agreement with Edward to exchange a years output for a wage. James with his considerable family wealth became a great benefactor to the arts and crafts movement and was a creative soul himself.
  • Production of the Sofa took place in 1938 with James deeply involved in specifying and choosing the fabrics and colours. This resonated with his passion and interest which survives to this day post the world war he witnessed in the Henry James Foundation and West Dean College, a charitable foundation for ensuring the survival of the skills and artisan trades which he feared might be erradicated and wiped out by the outcome of the war.
  • The two extreme individuals set about designing a series of pieces of  surreal furniture, and hence the connection to Monkton House a Lutyens (the architect) designed Dower House on the Jame’s family estate in West Dean  in West Susex. Bizarrely this English country house was transformed into a mauve-walled extravaganza of surreal fantasy.
  • Possibly such a creative relationship was less than likely to yield a profitable ongoing concern, just 5 sofas were produced, with 3 remaining in the ownership of the Henry Foundation. What an intriguing connection to art history in the 20th century!
Amanda Moore

Monday, 14 April 2014

Marlene McCarty - Murder Girls


Barbara and Jennaleigh Mullens - September 26, 1992., 1995-1998

Marlene McCarty has worked across various media since the 1980s. She was a member of the AIDS activist collective Gran Fury and was the co-founder of the transdisciplinary design studio Bureau along with Donald Moffett. Using everyday materials such as graphite, ballpoint pen, and highlighter, McCarty probes issues ranging from sexual and social formation to parricide and infanticide. A major survey exhibition of her work, organized by Michael Cohen, was presented in 2010 at New York University's 80WSE galley. Her work is in the collection of major institutions including MoMA, the Brooklyn Museum and MoCA Los Angles.

Sylvia Likens -- October 26, 1965, 1995-97

I first saw Marlene McCarty’s artwork in the late 90s. She made a series of huge portraits of teenage girls who had killed their mothers, accompanied by captions describing the murders in grisly detail. The girls were drawn painstakingly with no. 2 pencils and cheap ballpoint pens—the tools of a kid doodling in a notebook in class—and their clothing was see-through, which made them look ghostly and simultaneously menacing and vulnerable. They were tragic monsters.

Marlene’s drawings have since evolved to include a whole bevy of murderers: teen girls who killed their whole families, groups of girls who killed a friend, Christian evangelists who killed their children (because God told them to), as well as a creepily sexual series of children and families praying and, most recently, a series about the bonding between female scientists and the apes they study (also sexual).
Amy Kellner

Melinda Loveless, Toni Lawrence, Hope Rippey, Laurie Tackett And Shanda Sharer - January 11, 1992

In the late 1990s artist Marlene McCarty made a series of drawings entitled "Murder Girls." The drawings were of young women who figured in terrible crimes and showed their sexual parts exposed and emphasized, to suggest a link between their budding sexuality and the crimes. In this series, McCarty drew females who had committed murder, with one exception: Sylvia Likens. In her case, she drew Sylvia, not Gertrude or Paula or any other female involved in harming Sylvia.

McCarty's drawing of Sylvia did not portray her malnourished but looking healthy and pretty, her hair long and wavy, a smile on her face. She was depicted in only a short blouse tied between her breasts and has her hands on her hips. Naked below the shirt, the words "I'M A PROSTITUTE AND PROUD OF IT!" are written on her stomach. The combination of happy expression, jaunty posture and stigmatizing words make the drawing extremely disturbing.

Writer Cathy Lebowitz extensively interviewed psychoanalyst and writer Josefina Ayerza about McCarty's "Murder Girls." After noting that Sylvia is the only victim drawn in the collection, Ayerza speculates, "There could be sexual frustration in Gertrude. And now she projects this frustration on the girl, while accusing her of being a prostitute. Gertrude hated the girl, still she could have been sexually aroused by her. What she certainly was is aroused to kill."

Lebowitz asks the psychoanalyst if she believes Gertrude was psychotic. "Not necessarily," Ayerza replies. "Just envy can draw someone into delusion. Say Gertrude was attracted to Sylvia and didn't really know it. Every time she looks at the girl her gaze is ready to bring up the sexual features from underneath the clothes. That is already a reason to panic. Thus, it affects her to a point that she has to kill her, and then torture the dead body ... possess it."
Denise Noe 

Ana Finel Honigman: Your choice of Bic pens as the medium for "Murder Girls" is reminiscent of school supplies. A few critics have noted that these drawings resemble adolescents' painstaking classroom doodles. Were you creating them as an alter-ego? When making them, were you imagining yourself as an adolescent girl – maybe heroizing her deviant peers and making a self portrait?

MMC: Here’s how it happened: my choice of materials was informed by my fantasy of how I thought the girls themselves would like to draw and/or see themselves drawn. I started researching the project before I ever suspected that I would do drawings. I had been doing a lot of artwork by creating large decals and then ironing them onto canvas. I just assumed I’d take the pictures I found and iron them onto canvas as well. I did in fact do a couple like that of the first case that I worked on. That was about Marlene Olive. But then, I realized that the medium was completely inappropriate for the subject matter. The iron-ons made the work about media, mechanical reproduction, Warhol, anything and everything but about the girls themselves. I struggled a great deal with how to best articulate the project. Then, in the middle of trying to solve all of this, I went home to visit my parents. My mother asked me to clean some stuff out of a closet and I found a drawing. It was a portrait I had done of myself when I was seventeen. It was graphite and terribly tightly rendered with all the teenage angst of hoping to make it look like a pretty version of me. I knew at that moment that I had to do drawings of all the girls. I needed to create tight, repressed, unexpressive and stylized drawings. I had not drawn anything for ten years.

AFH: Can you summarize their stories or the common themes in their stories?

MMC: They all killed their mothers, sometimes including the father and, in a couple of cases, the whole family. The girls were all adolescents, all in that grey zone between childhood and adulthood. The girls were blossoming sexual beings while their mothers could see their own sexuality waning. In all cases there was an extreme (though often unacknowledged) power struggle between the girls and their mothers. I tried to the best of my ability to find cases where the crime committed grew out of this identity struggle. I tried to stay away from cases that were fueled by insanity (sociopathic behavior), drugs, or self-defense. In other words if a girl was being abused by someone then rose up to kill that person, I wouldn't use that case.

Self defense is too rational. I was interested in the murkier tension. A sort of undefinable field where that resonated with me personally.

I do have some portraits like Sylvia Likens or Suesan Marline Knorr where the girl was murdered by her mother or caretaker. I used these portraits because I believe the mitigating factors came from the same internal girl/mom friction but in these cases the parent managed to get the upper hand.

AFH: When you speak with viewers about "Murder Girls" are most of them empathizing with the girls or their families? Do you think that the series inspires parents to confront anxieties about children potentially hiding secret selves? 

MMC: There are a lot of layers within the work and people tend to connect to different combinations of things within the pieces. I am not generally privy to those experiences, although comments that I have heard run the gamut from fear, empathy, sexual attraction, voyerism, moral ambiguity, beauty, ugliness, tragedy, fashion illustration, heroism, guilt to awe. That said, I don’t do surveys to specifically see what people are thinking but at talks women often approach me and say they find the work extremely resonant. It makes them recall their own teen years and difficulties they had with their own mothers.

AFH: Were you a rebellious teenager? 

MMC: I take the fifth.

Friday, 11 April 2014

DEFINITE MOTION @ Generator Projects 11.04.14 - pictures

To the Generator this evening for the opening of DEFINITE MOTION, a show bringing together practices from Scotland, mainland Europe and The Americas to model and resist forms of capitalist exchange. I took a few photos and here they are:

The name of the show is DEFINITE MOTION

Ellie Harrison - Anti-Capitalist Aerobics

Danilo Correale - The Warp and the Weft

Kosta Tonev - The Heavenly Bodies, Once Thrown Into A Certain Definite Motion, Always Repeat

Toril Johannessen - Non-Conservation of Energy (and of Spirits)

Anna Moreno - Read the Newspapers

Thursday, 10 April 2014

Hannah Höch - Album

Album, c. 1933

Hannah Höch (German: [hœç]; November 1, 1889 – May 31, 1978) was a German Dada artist. She is best known for her work of the Weimar period, when she was one of the originators of photomontage.

Höch's Album is a scrapbook of a little over 100 pages into which she pasted 421 photographs cut from magazines and newspapers. It is not an exercise in photomontage as such; almost all the images are intact, and the book's visual intensity is mostly a matter of how they collide and rhyme across double-page spreads. She borrows liberally from fashion photography, movie-star portraits, architectural studies and natural-history close-ups. The legs of dancers and naked gymnasts resemble nests of scaffolding and the spindly forms of Karl Blossfeldt's plant photographs; dogs and kittens stare soulfully like Hollywood starlets and pompous statesmen. It's been argued that the Album was a repository for motifs to be employed later in her photomontages, but the effect is actually of a fully achieved work, in which the forms and images of mass media meld and interlace into an exotic whole.

Unlike many of her contemporaries, Höch stayed near Berlin between 1933 and 1945. Unable to exhibit, she began collating the Album – a change in her method, putting existing images together in a way that, shown here in a book, allows viewers to find meanings in their juxtaposition, rather than cutting fragments together to generate new works. Her interests in the New Woman and ethnography remain constant, but overt visual messages are resisted – unsurprisingly, given the conditions.
Juliet Jacques

Her collages are like an analog version of a Tumblr blog!

I checked out Hannah Höch's Album that she created in approximately 1933. It consists of 114 pages and contains over 400 photographic illustrations from periodicals. She liked images of female nudes, cats, and children as they are the most commonplace photographs. She liked cats so much, I scanned all the pages with them.

From Gunda Luyken's essay: “She created associative contexts which, knowing the circumstances of her life, permit of very impersonal interpretations. Beyond this, her album is marked by purposely introduced ‘disturbance factors.’ One such conscious accent, for instance, is the head of an emu, set on a double page otherwise devoted entirely to cats.”

In case you were wondering (because I was), Album contains 18 domestic cats.
j. russell

A major coup of the exhibition is ‘The Album’, a corridor dedicated to Höch’s 1934 ‘encyclopaedia of images’. Though not collages themselves, they document clippings from magazines of the era which appear later in her post-war work. This collection of ‘scrap books’ is an academic tool that bridges the development of her pre-war work, and her increasingly abstract post-World War Two work. Between clippings from Life Magazine and women’s titles from the period, a commentary on consumer lifestyle can be gleamed between beaming faces, advertisements (and the occasional cat).

It also marks a cut-off point in Höch’s personal and private life: as the Nazi party rapidly came to power through the 1930s, Höch retreated into isolation. By this point, her association with the Dada artists was largely over, but her work, increasingly gripped by politics and themes of exoticism, (some of her earlier collages explored images from colonial Africa, fixating on dancers), singled her out as a “cultural Bolshevik”. Marking the start of what Höch described as “12 terrible years”, her albums provide a private insight into how, despite her inability to exhibit, the germ of creativity remained as she documented the world around her.
Betty Wood

Tuesday, 8 April 2014

The Other People Place - Lifestyles Of The Laptop Café

James Marcel Stinson (September 14, 1969 - September 3, 2002) was an electronic music producer from Detroit, Michigan. He is known for his contributions to electro and Detroit techno music. James Stinson grew up the east side of Detroit and graduated from Kettering University in Flint, Michigan in 1989. He was one of the two members of Drexciya from 1992 to 2002; he produced the last few albums on his own. He died of heart complications in 2002. At the time of his death he was married to Andrea Clementson-Stinson.

It was long rumored (and later confirmed) that the anonymous producer behind the Other People Place guise is James Stinson, one half of Detroit electro geniuses Drexciya, but with the familiar jazzy tech-house rhythms that fill most of Lifestyles of the Laptop Café, it could be anyone with an ear for early Detroit techno. In fact, very much of the record sounds like the work of second-wave visionary Carl Craig. A sophisticated structure emerges from Lifestyles that is held up primarily with deep bass and warm synths. The rain-drenched, dark-street rhythms and liquidy chords that comprise the leadoff "Eye Contact" (and other standouts like "Moonlight Rendezvous and "It's Your Love) recall Derrick May's "Strings of Life" while carrying with them an entirely new theme. "Eye Contact is one such track that is spiced with soothing spoken lyrics intended to lampoon '90s culture (the male voice re-enacts a falling-in-love-from-across-the-room-whilst-sipping-a-latte situation; very '90s, indeed). Lifestyles is at least on par with any of the Detroit records of old, but where radio-friendly Inner City might have failed, Other People Place picks up, maintaining the high dance factor but with zero cheese factor. Detroit techno serves as a touchstone for Lifestyles, but this record is hardly a nostalgic throwback to those idealistic times. Instead, every track treats the music respectfully, pushing forward in a very new groove.
Ken Taylor

Electro for the 23rd century shopping mall crowd: While searching vainly for holiday deals on Hoverboards, customers retain only the vaguest awareness of the familiar 808 drums and analog synths, which combine to create a stimulating soundtrack to their outing. The mall proprietors are pleased.

“Was electro always this sweet-sounding?” a curious young girl asks her mother.

The girl is perceptive. By the Other People Places, Lifestyles of the Laptop Café effectively bridges the gap between funky old-school Detroit techno and the aesthetic of blissful atmospherics. Though it isn’t the first to do so, it is certainly one of the best examples. In terms of percussion and groove, the songs are very similar to the work of groups like Drexciya and Elektroids (membership likely overlaps), while the layering of non-percussive sound is much more reminiscent of Carl Craig or the Orb. While most electro aims to be sparse, the Other People Places fill in the gaps with rich, warm noise.

The warmth of the samples is the perfect complement to the classic depth of the grooves. “Moonlight Rendezvous” and “It’s Your Love” are perfect executions of this principle, striking a balance that defines the record. Then there are tracks like “Lifestyles of the Casual,” which could have been a Dopplereffekt song in another lifetime, and “Sunrays,” which is pretty and cosmic and ends the album on an unexpected note.

Lifestyles of the Laptop Café isn’t a record that will set the kids out in search of new software to achieve heretofore unheard sounds. Its brilliance isn’t in the newness of the equipment used to make it, but rather in the superior quality of the songwriting, the depth of the beats, and the inexplicable desire it generates for purchasing Hoverboards(tm). Regardless of who actually has their hands in the 
Other People Place, the songs on this record are obviously the work of people who know their genre inside and out and can lay down groovy, nicely layered tracks with admirable consistency. See you in the future.
Ben Tausig

After long talks on the internet she finally agreed to meet in real life. Eye contact was made. A simple kiss exchanged deep emotions, awoke peace of mind, confusion and love. People on the streets noticed and looked in awe. It's your love. Impressed, in a different city a moonlight rendezvous occured. She said she want me. She said i know what i want.

Some days later the cavities of life reached out. Enough with that! Let me be what i wanna be. Suddenly she was gone. Was she running from his love? Gone? Back to earth, yet luckily there are the sunrays.

Project produced by James Stinson about a love born which prematurely ended. James died exactly one year after the release. Rest in peace my friend.

There are eight gorgeous slow paced tracks on this album, six with vocals. Due to the lyrics this the most direct Storm yet, with no confusion about the sentiments of the tracks. Love and possibly lust are what makes this record tick. The only exception being ‘Let Me Be Me’ which appears more broadly philosophical in nature with the repeated vocal loop of ‘Let me be what I want to be.’ I think this is also my favourite track, such a simple statement which could be directed at parents, lovers, anyone in authority over us. I think it may also be the central piece of the album which connects to the previous storm as it echo’s similar sentiments on the Transllusion album about finding your true self.

The longest vocal is on the opener ‘Eye Contact’, “What do we have here? Wow! Something's happening to my transmitters, starting to over load., sitting here in this cafe drinking my latte. Something's happening to me. What do I see on the other side of the room? My my, hmm that's what, my, she’s gorgeous. So let me slide over, transmission, communication sent.” It sounds like he might have sent her a wireless infra red message or did he really slide over and talk? The following track, ‘It’s Your Love’, has a vocal loop of “It’s your love that’s keeping me sorry” which gives some emotional balance. ‘Moonlight Rendezvous’ is instrumental but the title references the lyrics of 'Running From Love’, “ I’m a fugitive in the moonlight just running from your love”. Maybe the instrumental soundtracks what happens when he stops running? The idea of running from love might be to ask why we are afraid or unwilling to give in to those emotions. It could be another reference to how modern society is growing ever more complicated, so much so that we would prefer to resist something as precious as love. Although love can still break your heart without any interference from outside.

The first appearance of what seems like a female vocal appears on ‘You Said You Want Me’. The woman asks that question to be answered by the male “You know I do.” I guess with technology this might not even be a woman singing, but I would like to think that it is, something else we‘ll never know. In fact there is an obvious question here about the male vocalist. Is this Stinson or Donald, if either. I would plum for it being Stinson, only because it just doesn’t sound like Donald but we’ll never know unless we’re told. Another female vocal, presumably the same person/effect, is on the closing ‘Sunrays’. Another standout track on an album full of them. The lyrics loop the phrase “Relax your mind, slowly unwind, catch some rays of the sunshine.” Sublime and so simple. Not a love song, more a chill out/simplify message which does chime in with the whole getting back to nature concept.
‘Lifestyles of the Casual’ is another instrumental and a bit of a mystery. I guess as it’s so close to the album title it may mean we can refer to the inhabitants of the Other People Place as Casuals, but this might be taking it too literally. It could mean the lifestyle of accepting casual occurrences also, but that is really just another literal interpretation.

Love and the awakening of an inner life could certainly be described as a storm and fits in well with the concept so far.

There is one other release by The Other People Place that I want to consider, even though it came out a year later and on a different label. Sometime in 2002 Clone released the 12" 'Sunday Night Live at the Laptop Cafe'. This was the first time Clone hooked up with Drexciya and they went on to build a strong relationship with the band culminating with their Grava 4 swansong and continuing into today with Der Zyklus. Of course to add more confusion this is actually The Other People Place featuring Mystic Tribe a.i. First of all the producer of Mystic Tribe is Sherard Ingram who is a respected producer in his own right. He must have been a close friend of Drexciya as he is also their Drexciyen DJ Stingray. The mesmerising and very ‘Lifestyles’ sounding ‘Sorrow & a Cup of Joe’ is credited to TOPP while ‘Telepathic Seduction’ is down as written and produced by Mystic Tribe a.i. The artwork presents a mock handwritten poster on the window of what looks suspiciously like the Clone record shop. It reads, ‘performing at midnight The Other People Place’ and ‘special guest Mystic Tribe A.I. will be performing at 2am’. Maybe this release is more oddity than anything, only linked to the 3rd Storm by its titles. But as Stinson himself said of storms, that they can be pretty chaotic, a piece of debris like this flying off should come as no surprise in this context.

I suppose to sum up in very broad strokes where we have got to with the interpretation of the series would be wise at this point.

‘Harnessed The Storm’ is the violent scene setter that tells us that all is not well but ends on a note of hope of a new kind of life.

‘The Opening of the Cerebral Gate’ is when things start to become clear, it is the first real step in the Storm towards this new life. We learn to look within and explore our mental dimensions.

‘Lifestyles of the Laptop Cafe’ tells us to continue this process of finding our true selves but also to develop/retain basic human emotions, especially love and not to become a victim of the coldness of technology/modern society.