RECTIVE evolved out of nothing more than a profound dissatisfaction with clubs in general and frustration at the seemingly pandemic tyranny of 'dance' as the only perceived way of appreciating or reacting to music in a social situation.
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RECTIVE sought to serve as an antidote to the easy, lame and predictable fiasco that club culture has become. Truly extreme music, or noise, for the most part, was and is treated on the London 'industrial' scene as something of a fringe novelty or too extremist and to use an English expression "Arty farty". In short, noise had been pushed aside in favour of easier, less challenging forms of music which fitted more neatly into the shallow and laughable mess the scene had become. Noise was eschewed because you couldn't show off your new T-shirt and hair extensions while dancing to it. That such a style or genre of music existed but seemed to have no public forum in which to be heard, was reason enough for RECTIVE to exist.
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For the most part noise would appear to be considered a solitary or home based experience. However, the vast majority of this kind of music benefits greatly from being played at excessive volumes, volumes that most listeners would find it difficult or impossible to recreate in their bedrooms; this is where RECTIVE came in.
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RECTIVE played many different forms of noise from the extreme to the ambient, inter-cutting these with tapes, classical and children's vinyl, 78's and original never before heard material. At any one time there could be up to four tracks playing simultaneously, the overall effect being that of a dense, abrasive and relentless onslaught on the ears.
Extremity was our goal at RECTIVE.
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RECTIVE took place in a standard club format save for the fact that there was no dance floor, which was usurped by chairs and tables. A video projector showed cut-up visuals: films, documentaries and animations on a wall as the music played. The first thirty or so people to each event were given a free and individual RECTIVE gift bag which contained a poster, ear plugs, pictures, articles, a toy and perhaps a surprise or two. Sweets were arranged in bowls on every table.
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RECTIVE tried whenever possible to act without social, political or moral constraints.
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Those of you interested enough to ask the question will know that RECTIVE is on an indefinite hiatus and therefore at this time no further events are planned.
There are a number of reasons for this decision, chief among them being that it would appear that you, the general pubic, had little or no interest in what we were selling.
Over the five years that we operated many paid lip service to the idea of RECTIVE but as the small circle of regulars can attest, precious few punters would actually turn up.
Chalk up one win for mediocrity.
Added to this, the effort and expense that all members of RECTIVE endured to ensure that each event was both stimulating and unusual just became too much when the monetary returns never grew beyond minus numbers. We never set out to make millions by RECTIVE but constant expenditure is something that none of us can afford. As many labours of love will, RECTIVE turned into a money pit and as such could not be maintained forever.
We are all fiercely proud of what we achieved and can comfort ourselves with the knowledge that not once did we ever compromise the ideals of RECTIVE in the pursuit of a larger audience, nor did we kowtow to any outside influences.
We were the best and the loudest. We were what we set out to be and no more; undiluted and unconscionably extreme to the last.
A thank you to those who came, a fuck you to those who didn’t.
E/M/P/K [RECTIVE]
POSTSCRIPT:
Any person or persons interested in engaging the services of the RECTIVE DJs for a forthcoming event should make contact through this myspace page
Olde skozey fetisch performance newly posted @ YouTube. It was the first ever Noise Pancakes at Pubis Noir. There were three audience members in attendance.
: :005 between the vortex vendor beautiful: : ..::.. ..::.. ..::.. ..::.. ..::.. ..::.. ..::.. ..::.. Some extremely rare selections, some classic, 50s electronics and some contemporary noise in this episode: ..::.. ..::.. ..::.. ..::.. ..::.. ..::.. ..::.. ..::.. OCSID, S.B.O.T.H.I. / Merzbow, Vladimir Usschevsky, The Peter Brötzmann Trio, Metalux & John Wiese, Merzbow & John Wiese, Agencement, Michael Prime, Duet Emmo, S.B.O.T.H.I. ..::.. ..::.. ..::.. ..::.. ..::.. ..::.. ..::.. ..::.. Hope you find time to give a listen, if you like 'em forward to friends and leave a comment. Take care, Mark C. / skozey fetisch / criptid ..::.. ..::.. ..::.. ..::.. ..::.. ..::.. ..::.. ..::.. .. Click here to get your own player.
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.... Schloss Tegal "The Myth of Meat" CD NEW Tegal Records : Clear Jewel Case
Completely new for 2008 exclusively on Schloss Tegal's own Tegal Records. This is Schloss Tegal's most intense work to date. An allegory of meat slaughter and death machines. Contains bone saw. mallet, hand saw, bone chopping and animal death chambers expressing such subjects as modern cannibalism, interrogative torture. This is hyperrealistic psychpchogenic industrial electronics definately not for the squeemish in the same Grand Guignol tradition.
Track Listing
Death Car Display Cannibal Communion Urban Funk Campaign Panic Man Custom Slaughtering The Long Pig Meshaf i Resh Butchermaster's Meal Bind Torture Kill (BTK)
