Tag Archives: John Wiese

Purple Rain: Terror Beyond Belief
Spectacle Theater’s Best of 2016 and January 27 screening:

dir. John Wiese, 2014.
USA, 90 min.


Having brought to our audience such spectacular single-work détournements like THE SHINING FORWARDS AND BACKWARDS and TOUGH GUYS, we are now pleased to premiere Los Angeles-based artist John Wiese’s 2014 effort PURPLE RAIN: TERROR BEYOND BELIEF.

Described by Wiese himself as “a new edit of PURPLE RAIN where Prince murders Apollonia and gets away with it,” PR:TBB shines a darker shade of purple on the “greatest music movie of them all.” If “Darling Nikki” was all it took for Tipper Gore to start the PMRC, one wonders what PR:TBB might have done for the MPAA.

Unlike other works of appropriation which selectively reorganize “bites” into a new decontexualized construct, PR:TBB pushes an existing, diegetic act of violence a few cinematic degrees further, and then lets the third act play through (albeit without Apollonia’s presence). This is PURPLE RAIN as you have seen it before (yet not).

An artist and composer living in Los Angeles, John Wiese is a highly respected figure, both in contemporary sound art as well as the international experimental music underground. Wiese is also known for his influential grind/noisecore band Sissy Spacek, extreme electronics unit LHD, and for numerous collaborations. He is also an accomplished visual and graphic artist, with a long list of international exhibitions and printed materials.


Tags , ,

Arcata, California pirate radio program “Hypocrisy Now!” 2.5 hour feature on Helicopter with interview.

Tags , , ,

Mata / Matt Lifson Book Release

Wednesday, November 16th, 8pm

In celebration of the release of two new books by Hesse Press: Matt Lifson “Sleep With Me And A Ghost” and Mata “No Drums No DJs No Saturdays”

Performances by:

(Phil Blankenship & John Wiese)

(Maria Garcia & Nial Morgan)



Paintings by Matt Lifson and Mata sculptures will be installed in the upstairs galleries. On view from 12pm, before the performances.

Tags , , , , , , , , , , , , ,

BOMB Magazine — Artists in Conversation
John Wiese by C. Spencer Yeh

Tags , , ,


Tags , , ,

T. Mikawa/John Wiese
Oblique No Strategy
Helicopter, H 78
Release Date: November 1, 2016

1. Cryptic Number
2. Camouflage
3. World of Other Stuff
4. Lung Capacity

Helicopter is proud to present the first ever collaboration between T. Mikawa (Incapacitants, Hijokaidan) and John Wiese (Sissy Spacek, LHD). Since their first meeting in Tokyo in August 2000, readers may remember Mikawa’s liner notes on Wiese’s 2005 Troniks release “Teenage Hallucination: 1992–1999″, but it took a full fifteen years before the two had the opportunity to sit down and record together. Recorded in Tokyo at Ochiai Soup in 2015, the pair’s electronics bleed into one another to form an immersive and astounding energy. Mixed and mastered by Wiese during a residency at the studio of Ina/GRM in Paris, 2016.


Tags , ,

Mitchell Brown and John Wiese at Human Resources, Los Angeles, October 15, 2016. Photo by Jay Howard

Tags , ,

Tags , , , , ,

live in concert


Saturday, October 15 at 9 PM
Human Resources
410 Cottage Home St, Los Angeles, California 90012

donate eight
_ _ _ _ _ _ _

Robert Beatty (Lexington, Kentucky)

Concurrent to crushing noise-rock norms and jockeying shattered electronics in Hair Police, Robert Beatty has – over a decade and a half – also cut a solo path of pulses and tricks under the guise of Three Legged Race. These underground sounds have been spooled by tape labels crucial to their times: Gods of Tundra, Night People, NNA, and Vitrine. More frequent live appearances and Beatty’s Soundtracks for Takeshi Murata have brought his sounds to more ears and his name to more lips. An apparent insistence on cassette and vinyl for physical releases hint at the technology-stretch at play in all of his work. Like the globally recognizable album art Beatty has created for others, his own electro-sonics blur the line between analog artifact and digital method. And this ambiguity is intrinsic to his era-less weirdness: mystery mindscapes that can evoke The Residents or alternately offer a fully twisted take on contempo fake-techno. This is Beatty’s first show in Los Angeles in three years and his first in town since shedding the Three Legged Race moniker for live performances in favor of his own name.

Mitchell Brown/John Wiese

Cuts and folds and layers of sound; abstractions that suggest referent but defy recognition. Words fail, but still these here do loosely approximate audio aspects of two perennial figures of experimental music activity in Los Angeles. Mitchell Brown’s seemingly ubiquitous presence performing live has brought his analog alchemies and head expansion techniques to the front of the class as Professor Cantaloupe and as a next-gen LAFMS exponent. John Wiese’s digital incisions and perpetual bricolage have laid a concrète path from the extremities of the American underground, around the earth, and to the studios of INA-GRM. Duo collaborations are core to each of these system-riggers, and – of course – they are no strangers: the Superstitious cut on Wiese’s mid-career chronicle Deviate from Balance documents an early aughts meeting between the two, and they have collabed live with each other in various Spacek ensembles and Smegma connected jams. Yet, the two haven’t paired up for a live action in nearly a dozen years. Come hear the air tear.

Smokey Emery

Barely within sight, darkness swallows a shadow at the far end of a long corridor, leaving only a cascade of echoes. Such are the dank dreamstate atmospherics conjured by Smokey Emery, a long running project of Houston-born artist Daniel Hipólito. An itinerant accumulator of sound, he coaxes a mix of soundscape fragments and material decay from prepared tape loops snaking through a apparatus of vintage dictaphone, reel-to-reel, and cassette decks. Synthesis and rhythm also work their way into the flow, as has been captured on recent releases on Holodeck and Chondritic Sound. With Hipólito’s re-location to Los Angeles from Texas, Smokey Emery has begun to be more readily visible diffusing sound into rooms around town.


Tags , , , , ,

Tags , , , , , ,


Tags , , , ,


Tags , , ,


Tags , ,

Tags , ,

Tags , , ,

Trailer for John Wiese screening at Anthology Film Archives, August 4, 2016

Tags , , ,


An artist and composer living in Los Angeles, John Wiese began experimenting with recording as a teenager and has since gone on to become a highly respected figure, both in the academic world of contemporary sound art as well as within the international experimental music underground. His music ranges from the serene and sublime to the frenetic and irregular, a sign of his ability to adapt and utilize a plethora of sounds to build captivating aural works. As a performer and recording artist, his expertise in composition, texture, and experimentation with sound is not restricted to work under his own name. Wiese is also known for his influential grind/noisecore band Sissy Spacek, extreme electronics unit LHD, and for his numerous collaborations with some of the finest experimental artists from around the world. He is also an accomplished visual and graphic artist with a long list of exhibitions and printed materials published across the globe. For his program at Anthology, Wiese will present eight film pieces that incorporate elements of documentation, narrative, and abstraction, using image, sound, and often silence, to create a visual score for both real and imagined sound.

SISSY SPACEK 2011, 16.5 min, digital, silent
THE TENSES WITH JOHN WIESE 2014, 12.5 min, digital
UNTITLED 2014, 6.5 min, digital, silent
LEATHER BATH 2013, 6.5 min, digital
SISSY SPACEK—MATA GALLERY 2014, 1.5 min, digital
I BET YOU CAN’T FINISH THAT GLASS OF WATER 2014, 10 min, digital, silent
THREE GLASS BOTTLES 2014, 30 sec, Super 8mm-to-digital, b&w
A SPECIFIC POINT IN A CONTINUOUS WHOLE 2014, 19.5 min, digital, silent

Total running time: ca. 80 min.
Thursday, August 4 at 7:30.

Each of our quarterly calendars contains hundreds of films and videos all grouped into a number of series or categories. Along with preservation screenings, theatrical premieres, thematic series, and retrospectives, we’re equally dedicated to presenting work by individuals operating at the vanguard of non-commercial cinema. Each month we showcase at least one such program, focusing on moving-image artists who are emerging, at their peak, or long-established but still prolific. These programs are collected under the rubric SHOW & TELL, to emphasize the presence of the filmmakers at each and every program.

About Anthology Film Archives: Founded in 1970, Anthology’s mission is to preserve, exhibit, and promote public and scholarly understanding of independent, classic, and avant-garde cinema. Anthology screens more than 1,000 film and video programs per year, publishes books and catalogs annually, and has preserved more than 900 films to date.

Directions: Anthology is at 32 Second Ave. at 2nd St. Subway: F to 2nd Ave; 6 to Bleecker.
Tickets: $11 general; $9 for students, seniors, & children (12 & under); $7 Anthology members

Tags , ,


Tags , , ,

Tags , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Tags , , , ,