Craig Schuftan (tapes, radio, records, keyboards, bass, some singing), Michael Rosenthal (guitar, backwards guitar, forwards guitar)
Michael Rosenthal and I started Pioneer Disposals in 2002, after we improvised a piece of night-time music for my cat (who was asleep). We worked pretty steadily over the next few years on an album of tape-loop rock called ‘Magnet’. I’ve included a few songs it here, as well as a cover of Severed Heads’ ‘Goodbye Tonsils’.
In Pioneer Disposals, my job was mostly to play tapes. I had hundreds of cassettes of noises and drones, and at gigs I’d drag along five or six cheap stereo cassette players to play them on. I had everything very carefully rehearsed, so that when the song demanded it, I would play exactly the right sound at the right time, and then quickly swap it over for the next cue. Now, I know what you’re thinking. This was 2002, right? People didn’t really have to do that stuff anymore because there was this thing called sampling. For some reason, this didn’t stop me from inventing the mellotron all over again. To streamline our performances, I built a box with morse code keys mounted on it, so I could ‘tap’ the sounds in and out at the right moments. Gradually, I refined this machine, and gave it more keys and more inputs and outputs. By the following year, it was a kind of tape-piano, with 12 keys, all housed in a little wooden briefcase.
'The bigots, the hysterics, the destroyers of the self - these are the writers who bear witness to the fearful polite time in which we live... Ours is an age which obsessively pursues health, and yet only believes in the reality of sickness. The truths we respect are those born of affliction. We measure truth in terms of the cost to the writer in suffering - rather than by the standard of an objective truth to which a writer's words correspond. Each of our truths must have a martyr.'
'Spinoza thinks that, if you see your misfortunes as they are in reality, you will see that they are only misfortunes to you, not to the universe, to which they are merely passing discords heightening an ultimate harmony. I cannot accept this; I think that particular events are what they are, and do not become different by absorption into a whole. Each act of cruelty is eternally a part of the universe; nothing that happens later can make that act good rather than bad, or can confer perfection on the whole of which it is a part.'
'Sexual freedom, sexual liberation. A modern delusion. We are hierarchical animals. Sweep one hierarchy away, and another will take its place, perhaps less palatable than the first. There are hierarchies in nature and alternate hierarchies in society. In nature, brute force is the law, the survival of the fittest. In society, there are protections for the weak, society is our frail barrier against nature. When the prestige of the state and religion is low, men are free, but they find freedom intolerable, and seek new ways to enslave themselves... My theory is that whenever sexual freedom is sought or achieved, sadomasochism will not be far behind.'
lou reed | velvet underground | nico | camille paglia | sexual personae | sadomasochism
'In short, this power is exercised rather than posessed; it is not the 'privilege', acquired or preserved, of the dominant class, but the overall effect of its strategic positions - an effect that is manifested and sometimes extended by the position of those who are dominated. Furthermore, this power is not exercised simply as an obligation or a prohibition on those who 'do not have it'; it invests them, is transmitted by them and through them; it exerts pressure upon them, just as they themselves, in their struggle against it, resist the grip it has on them.'
'It is not untrue to say that chairs have seats and that rain falls downward. Many poets write truths of this sort. They are like a painter adorning the walls of a sinking ship with a still life... Those in power cannot corrupt them, but neither are they disturbed by the cries of the opressed.