Solid Rain

Holy Shit

Few musicians maintain the level of mystique Holy Shit does in the Internet age. Originally formed by le visionnaire Matt Fishbeck and neurotopsych head Ariel Pink, the duo recorded their dark classic Stranded at Two Harbors (2006) in hovels and forgotten architecture of Los Angeles and San Francisco. Fishbeck has enlisted over eighty musicians from some of the most popular music acts on the West Coast (including friends John Maus, Geneva Jacuzzi, Nite Jewel, and Christopher Owens of Girls) in ensuing live iterations, but has not released another full-length under the Holy Shit moniker—until now.

Psychotropic and literate, by turns bewildering and gut-wrenchingly evocative, Solid Rain summons a too-often-forgotten world somewhere between gentility and delirium in the vein of Felt, John Cale, Momus, Christophe, and Dieter Meier. The record also reflects the reciprocal influence of some of the many artists who have been influenced by Holy Shit’s furtive output and creative ethic over the past decade, such as Sean Nicolas Savage, Mac DeMarco, and Molly Nilsson.

Solid Rain is a sweeping emanation on roads taken and roads lost. The subdued power of Fishbeck’s vocals floats above raw songcraft and swirls of digital instrumentation, gliding with a disrupted confidence through existential narratives and stopping on strange side roads of sexuality, devilish mirth, and satire. Recorded with a wide range of technologies and media on the floors of apartments and mansions, in studios and dressing rooms, the melodies are absorbing and then dissonant, resembling the mystifying personality of their prolific author.

Solid Rain will be the first musical release from Semiotext(e)

For promo requests contact: info@semiotexte.com

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AS-Cover4-2Animal Shelter 4

Edited by Hedi El Kholti

Co-Edited by Robert Dewhurst

Art, Sex, Literature • Issue 4

Semiotext(e) is pleased to announce issue 4 of its occasional intellectual journal, Animal Shelter. Issue 3 visited exotic locales and obscure alcoves of the past; the new issue circles a constellation of sex, exchange, and debt, with a substantial portion devoted to poetry. In issue 4:

 

ALAIN BADIOU on Pierre Guyotat’s cosmology

TONY DUVERT on ugliness and de Sade

THOMAS GOKEY on art after Occupy

Trance verses by WAYNE KOESTENBAUM

KEVIN KILLIAN on pop-vocalist Maxime Le Forrestier

A conversation with MAURIZIO LAZZARATO on debt and time

SARAH LEHRER-GRAIWER on Lee Lozano’s notebooks

Poetry by ALICE NOTLEY, DOROTHEA LASKY, DANA WARD

 

Other contributors include: Jackie Wang, Emmanuel Moreira, Marie Buck, Lisa Cohen, Robert Glück, Ann Rower, Kate Zambreno, Gary Indiana, Matias Viegener, Rob Halpern, Candice Lin, CAConrad, Bradford Nordeen, Andrew Bernardini, Tim Dean, Jamie Stewart, William Dunaway, Jr.

 

Art by: Kath Bloom, Kath Bloom, Paul Chan, Steve Dalachinsky, Hedi El Kholti, Aimee Goguen, Vanessa Haney, Gary Indiana, Patrick Kwon, Eli Langer, Candice Lin, Lee Lozano, Filip Noterdaeme, Brad Troemel, and Cayal Unger.

 

Fleeting, ephemeral, nondigital, and nonhierarchical, Animal Shelter is, as Alex Gartenfeld wrote in Interview, “a loose collection of texts, sequenced like a mixtape,” focused yet eclectic. Issue 4 is coedited by Hedi El Kholti and Robert Dewhurst. This and past issues are available at semiotexte.com and from select booksellers.

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28 New publications for the 2014 Whitney Biennial

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Semiotexte has produced twenty-eight pamphlets as part of its contribution to the Whitney Biennial by philosophers, writers and critics associated with the press. The series includes new, commissioned works by Franco “Bifo” Berardi, Veronica Gonzalez-Peña, Sergio Gonzalez-Rodriguez, Gary Indiana, John Kelsey, Chris Kraus, Maurizio Lazzarato, Eileen Myles, Ariana Reines, Abdellah Taïa, Lynne Tillman and Mark von Schlegell, and previously unpublished texts such influential 20th century figures as Simone Weil, Julio Cortazar and Jean Baudrillard.

Available here in our new shop

 

AS-Cover3-MED

Animal Shelter

Art, Sex, Literature • Issue 3

Semiotext(e) is pleased to announce issue 3 of its occasional intellectual journal Animal Shelter, founded and edited by Hedi El Kholti.  Fleeting, ephemeral, nondigital, and nonhierarchical, Animal Shelter is, as Alex Gartenfeld wrote in Interview, “a loose collection of texts, sequenced like a mixtape,” focused yet eclectic. Animal Shelter 2 (2012) evoked a world drifting in limbo. The new issue seeks the roots of our present malaise by moving out to places usually considered ‘obscure’ or ‘exotic’: Argentina, the West Indies, Mali, rural Florida. Animal Shelter 3 features fiction, philosophy, poetry, analysis, & interviews, with an accent on archival documents.

 

 

In this issue:

A short story by TISA BRYANT on the afterlife of Antiguan slavery

A short story by MICHAEL CARROLL on sex & languor in Key West

JEAN EUSTACHE in conversation with Wade Novy

PIERRE GUYOTAT on childhood, pubescence, poetry

A short story and collage by RICHARD HAWKINS

GUY HOCQUENGHEM on the imperialism of the couple

An unpublished COOKIE MUELLER  short story

GRACE NDIRITU on responsible tourism

A short story by DALIA ROSETTI on jailhouse tattoos

A poem by HEATHCOTE WILLIAMS on Otto Muehl & animal liberation

 

Other contributors include: Melissa Barrett, Robert Dewhurst, Tony Duvert, Iris Klein, Fernanda Laguna, Lodovico Pignatti Morano, Jean-Jacques Schuhl, Noura Wedell.

Art by: Gary Lee Boas, Shannon Durbin, Matt Fishbeck, Kathryn Garcia, Mim Goodman, Peter Hujar, Eli Langer, Tracy Nakayama, Grace Ndiritu, Warren Neidich, A. L. Steiner…

“We learned the terms animal ‘kingdom’ and vegetal ‘kingdom’ in school. We must consider other kingdoms, other histories, other reasons alongside our own. I remember that for a long time we thought that certain human populations were not fully human. The Indians discovered by the Spanish, who were brought to Valladolid, were at the center of a great controversy: are they human? People who were well-born and cultivated asked themselves the question . . . To return to animals, no saint has ever denigrated them. All the greatest saints included animals in their great love. The role of poetry, in the largest sense of the term, is to remind us of this.”

—Pierre Guyotat

$12

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Animal Shelter Issue 2: Art, Sex, Literature

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Semiotext(e) is pleased to announce Issue 2 of its occasional intellectual journal Animal Shelter, edited by Hedi El Kholti. Fleeting, ephemeral, nondigital, and nonhierarchical, Animal Shelter is, as Alex Gartenfeld wrote in Interview, “a loose collection of texts, sequenced like a mixtape”—focused yet eclectic. Gathered around a long conversation with philosopher Paul Virilio on “The Littoral as Final Frontier,” conducted on the first day of the “flash crack” collapse of the European markets, issue 2 features fiction, artwork, poetry, conversations, and essays which orbit desublimation, digression, negative monument, catastrophe, shadows, horror, sexiness …

Animal Shelter 1 (2008) summoned the underground-press sex culture of the 1970s as an intellectual conduit. Issue 2 evokes the suspended atmosphere of a world drifting in limbo; analysis laced with an undertow of oblivion. In this issue:

Moyra Davey on writer’s block, Walter Benjamin, and Jane Bowles.

Bruce Hainley channels Paloma Picasso to jot some notes on Margie Schnibbe and the “explicit.”

Bifo on Stanley Kubrick’s Eyes’s Wide Shut, and the relation between irony and cynicism

an.

An interview with Paul Virilio on seascape, inertia, and the Zynthia cyclone

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Chris Kraus and Sylvère Lotringer on George Porcari’s ambient photography

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Shlomo Sand and Sylvère Lotringer on contemporary Israel, myth, and the invention of Zionism.

Alistair McCartney on early ’90s bohemia in Hyde Park, Perth, Australia.

Dodie Bellamy on queer subculture and the “Goldilocks syndrome.”

Veronica Gonzalez‘s short story on friendship, loss, and Los Angeles

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Rachel Kushner‘s short story that takes up pubescence, motorcycles, and Flaubert’s lewd correspondence from the Nile.

A rare short story by Eileen Myles on Winston Leyland’s legendary 70s tabloid, Gay Sunshine.

Other contributors include: Robert Dewhurst, Ben Ehrenreich, Matt Fishbeck, Paul Gellman, Slava Mogutin, Jed Ochmanek, John Pluecker, Michael Rashkow, Mattilda Bernstein Sycamore, Sarah Wang, and others.

” . . . At the Liberation . . . I discovered a coast that had been off limits during the entire war. For a child, the discovery of that seascape was an extraordinary moment, the end of the world, the finisterre; the discovery of freedom as well as an endless, negative horizon where there is nothing but the horizon, nothing but fluid dynamics.”
—Paul Virilio

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BOOK RELEASE PARTY AND SCREENING

 

Friday, December 16, 2011
7:00 pm until 10:00pm

HUMAN RESOURCES: 410 Cottage Home St. Los Angeles, CA 90012

Please join Semiotext(e) for a release party to celebrate the release of William Jones’ HALSTED PLAYS HIMSELF.

Fred Halsted’s L.A. Plays Itself (1972) was gay porn’s first masterpiece: a sexually explicit, autobiographical, experimental film whose New York screening left even Salvador Dalí repeatedly muttering “new information for me.” Halsted, a self-taught filmmaker, shot the film over a period of three years in a now-vanished Los Angeles, a city at once rural and sleazy. Although his cultural notoriety at one point equaled that of Kenneth Anger or Jack Smith, Halsted’s star waned in the 1980s with the emergence of a more commercial gay-porn industry. After the death from AIDS of his long-time partner, lover, spouse (and tormentor) Joey Yale in 1986, Halsted committed suicide in 1989.

In Halsted Plays Himself, acclaimed artist and filmmaker William E. Jones documents his quest to capture the elusive public and private personas of Halsted–to zero in on an identity riddled with contradictions. Jones assembles a narrative of a long-gone gay lifestyle and an extinct Hollywood underground, when independent films were still possible, and the boundary between experimental and pornographic was not yet established. The book also depicts what sexual liberation looked like at a volatile point in time–and what it looked like when it collapsed.

The screening of Fred Halsted’s LA PLAYS ITSELF will start promptly at 7 pm. after a short introduction by the author.

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