Skip to main content

Glasgow Implodes - Noise Annoys

13th Note, Glasgow, March 28 2009, 1pm-midnight
Nihilism and noise go fist in hand. Just take a look at the line-up of Glasgow Implodes, the fourth annual all-dayer of extreme noise terror organised by cottage industry label At War with False Noise in association with Zero Tolerance magazine. Vomir, for instance, is a Frenchman who, by placing bags over the heads of his audience while playing in pitch black at an excruciating volume, more than justifies the hype of ‘No change! No development! No music! No entertainment!’ he’s tagged with.

“He wants you to feel nothing,” Glasgow Implodes’ Al Mabon is at pains to point out. “It’s about wanting to arrive at the most extreme, most violent conclusion you can. To me that’s an extension of a punk DIY ethic, and I don’t necessarily see nihilism as a negative thing.”

Originally founded as a DIY alternative to some of the bigger experimental festivals, Glasgow Implodes comes out of a fecund Glasgow scene’s desire to get back to basics. With the likes of Skullflower, Gruel and Manchester’s Barbarians also in attendance for what sounds like an auto-destructive assault on the senses, some levity may be had by Atomized. This collaboration between Black Sun and Kylie Minoise takes 1980s disco hits as their starting point, only to render the likes of Madonna’s ‘Justify My Love’ unrecognisable. Not so much a remix, then, as tearing it limb from limb. Which all sounds novel enough, but how far can you go once you’ve taken things to the limit?

“I don’t know,” Mabon admits. “Can you go further? It’s raising questions like that which make Glasgow Implodes so fascinating.”

The List, March 2009



Popular posts from this blog

Peter Brook – The Prisoner

Peter Brook is no stranger to Scotland, ever since the guru of European and world theatre first brought his nine-hour epic, The Mahabharata, to Glasgow in 1988. That was at the city’s old transport museum, which by 1990 had become Tramway, the still-functioning permanent venue that opened up Glasgow and Scotland as a major channel for international theatre in a way that had previously only been on offer at Edinburgh International Festival.
Brook and his Paris-based Theatre des Bouffes du Nord company’s relationship with Tramway saw him bring his productions of La Tragedie de Carmen, La Tempete, Pellease et Mellisande, The Man Who…, and Oh Les Beaux Jours – the French version of Samuel Beckett’s Happy Days – to Glasgow.
Thirty years on from The Mahabharata, Brook comes to EIF with another piece of pan-global theatre as part of a residency by Theatre des Bouffes du Nord, which Brook has led since he decamped to Paris from London in the early 1970s. The current Edinburgh residency has alr…

Romeo And Juliet - Shakespeare's Globe Comes to Glasgow

Open-air Shakepeares are a summer-time perennial of the theatre calendar, attracting picnicking audiences as much as midges. More often than not, such romps through the grass are frothy, heritage industry affairs designed to be accompanied by strawberries and cream and not to be taken too seriously. Shakespeare’s Globe theatre company look set to change such perceptions when they open their outdoor tour of Romeo And Juliet in Glasgow next week as part of the West End festival.

For the two young actors taking the title roles of the doomed lovers, it will also be something of a homecoming. Richard Madden and Ellie Piercy both studied in Glasgow prior to turning professional. Indeed, Madden has yet to graduate from the acting course at RSAMD, and, as well as facing the pressures of playing such a meaty role in close proximity to the audience, will have the added anxiety of being assessed and graded by his tutors.

“This is the end of my third year,” says Madden following a Saturday mornin…

Suzy Glass – Message from the Skies

Freedom of movement matters to Suzy Glass, the arts and events producer currently overseeing the second edition of Message from the Skies.This animated literary derive around the city forms part of this year’s Edinburgh’s Hogmanay programme, and runs right through till Burns’ Night. Glass’ concerns are inherent in the event itself, which has commissioned six writers from different disciplines and experiences to each pen a love letter to Europe. Each writer has then paired up with a composer and visual artist or film-maker, with the results of each collaboration projected in monumental fashion on the walls of one of half a dozen of the capital’s most iconic buildings.
With venues stretching from the south side of Edinburgh to Leith, and with one city centre stop requiring a walk up Calton Hill, there is considerable legwork required to complete the circuit. It shouldn’t be considered a race, however, and audiences are free to move between venues at their leisure, visiting each site on d…