Returning to Over The Edge on KPFA

Featured

We will be returning to Over The Edge on KPFA for the first time in over 15 years on 30 November 2018, that’s starting midnight on Thursday night, California time.  You can tune in online, the show is 3 hours long.  https://kpfa.org/program/over-the-edge/

Since 1981, Negativland’s live mix, audio collage radio show, “Over The Edge,” has aired weekly for 3 hours at midnight, each Thursday on KPFA 94.1FM in Berkeley, California.  Mixed for 35 uninterrupted years by founder Don Joyce until his passing in 2015, the show continues on, now helmed by Wobbly (2nd & 4th Thursdays) and KROB (3rd Thursdays, as a frequently-broken rule).
 
OTE’s themed mixes are made live and spontaneously on the air from a variety of formats and equipment. There is a plan and there is no plan. The mix consists of found sound of many kinds and from many sources put together on the run as the continuous audio collage progresses.
 

25 Years of Us 100 Tracks

Featured

To coincide with a few concerts that we’ve been doing lately, we’ve put some “Retrospective” mp3s up on bandcamp from the first 25 years of People Like Us. You can download it here or click below.

This is a 100 track compilation, over 6 hours duration, representing some of our favourite tracks and collaborations over radio, on stage and in the studio from 1991, which was when we released our first album.  Each track has a different flavour, from a different time, another place, and often associated with a different recording medium or varying groups of individuals who inspired or actually took part.

Thank you friends, listeners and collaborators for being around, and for all those who inspired and supported the journey so far. Making this available at a Nice Price considering the ridiculous volume of content, and as is the case for much of People Like Us, you can quite possibly find a lot of this in various forms elsewhere on the internet for free, either put there by us, or others. But if you’d like to support us, then we thank you and welcome that. It will help make more happen. 

Bandcamp requires that we upload in lossless form, and we will be honest and say that a lot of this only exists as mp3, but really…. most of what we sampled was also initially in mp3 form.

Recyclopaedia Britannica cassette

Featured

Discrepant Sucata Tapes (CS72) SUC19
On Pre-Order. Shipping mid-October 2018

Vicki Bennett aka People Like Us returns to Sucata Tapes with another epic radio collage from the archives.  You can buy the cassette (with a digital download included from us or Discrepant, and if you want just the digital download then get direct form Discrepant.

Price with Shipping

“The work of People Like Us rests gingerly between two dangerous positions: on the one hand, the risk of fashioning merely stylish pastiche out of borrowed finery for the sake of self-conscious kitschiness; on the other hand, the risk of making simplistic, heavy handedly “topical” audio-jokes at the expense of one’s raw material to a smug effect. If the lounge creeps uncritically snack on their sonic ingredients and coast on being “groovy”, the cads of pseudo-critique take cheap shots at straw men and call it subversion. Happily, Vicki Bennett has yet to fall down either precipice, but yodels down contentedly from her own Alpine audio-cottage. There, with loving care, she snips and tucks at the lycra jumpsuit until the fit is snug, places every plastic shrub on the Happy Valley Ranch just so, and throws another dance record on the bonfire. Undercutting her own utopian mirages with formal breakdowns and sneaky semantic pranks, Vicki Bennett is One Funny Lady, with a deadly sense of comic timing that puts her in my personal pantheon of edit intensive music makers: -Steinski and Mass Media, Hank Shocklee, Tod Dockstader, Teo Macero, the Hanatarash, John Oswald, Runzelstirn & Gurgelstock. Serving her birthday cake with a turd, her gags are always lined with a virulent creep factor. You get the feeling that the vacancy and pointlessness of empty speech is being lampooned and mourned in equal measure. In sticking to this balance of celebration and critique, People Like Us genuinely hates and loves People Like You. The least you can do is head up to the Happy Valley Ranch for a spell and have a listen.” – Drew Daniel 

NEW People Like Us CD! The Mirror

Featured

The Mirror CD

PEOPLE LIKE US “THE MIRROR”
LIMITED EDITION (500) CD & DIGITAL DOWNLOAD
Cutting Hedge SNIP002 (available initially mailorder only from us)
RELEASE DATE 1 OCTOBER 2018 

We are now taking orders for a brand new People Like Us album!  This will be available as both a CD and also digital download.  If you purchase the CD it will come with the digital download for free.

This album contains all new audio work, sourced from both our live a/v performance The Mirror [2018], and also from Gone, Gone Beyond [2017+], our ongoing 360 surround cinema work.  It also contains additional tracks composed during the creation of these pieces that never were used.

We are joined on two tracks by Ergo Phizmiz, and the packaging has artwork from the above works and also specially made for the CD.  Two collages are made in collaboration with other artists Peter Knight and Hearty White.  The CD was mastered by Mark Gergis.

Order directly from us now by Paypal:  

Price INCLUDES shipping. Please select your region:

If you would prefer just as a digital download please click below:

The Mirror

Featured

We are pleased to announce a new audiovisual immersive cinema performance by People Like Us called The Mirror, performed from March 2018 worldwide.  We are also making it available in Theatrical form for (only) the US.

The Mirror is a live a/v performance which splices together movie snippets with unique sample-based music exploring the masks that we wear represented through the lens, using parallel narratives across the screen to depict an ever-changing stream, rather than a singular, fixed being, narrative or moment in time.

“A feat of research and craft, this new work is a spellbinding inquiry into editing and juxtaposition; a collage one can unthread allowing the viewer to discover hidden stories through familiar images. The soundtrack is performed live, made up from hundreds of preexisting songs, as well as particular sounds from the original film clips.” — Flatpack Film Festival

18 March 2018 – World Premiere: Athens Greek Film Archive Foundation (as part of Shadow Libraries: UbuWeb in Athens, organised and produced by the Onassis Cultural Centre-Athens) – tickets/info
13 April 2018 – UK Premiere: Liverpool FACT – tickets
17 April 2018 –
Belfast Film Festival at Crescent Arts Centre – tickets
20 April 2018 – London Cafe Oto – tickets
21 April 2018 –
Birmingham Flatpack Festival – tickets
12 May 2018 – London Splice Festival, at Rich Mix – tickets
11 July 2018 – London Cafe Oto, double bill with Carl Stone – tickets
19 July 2018 – Gijón LEV Arenas Movedizas – free entry
26 July 2018 – MACBA, Barcelona – tickets
17th September 2018 – Theatrical Screening (not live) – Bryce’s Show on WFMU
19th & 20th September 2018
– Theatrical Screening (not live) – Spectacle Theater, Brooklyn – tickets
20 October 2018 – 100 Years of Copyright Festival, Berlin HKW – tickets
2 November 2018 – Spill Festival, Ipswich – tickets
10 November 2018 – Kunstnernes Hus, Oslo Norway – tickets
15 November 2018 – Brighton “Cinecity” Film Festival at Fabrica – tickets
30 November 2018 – Theatrical Screening (not live, we do not perform in concerts in the US) Recombinant Festival, Gray Area, San Francisco – tickets
27 March 2019 – Musikbrauerei, Berlin – tickets

If you are a festival organiser with a budget and are interested in booking this, please get in touch by way of our Contact FormIf you are in a country requiring a work visa to perform we can in very special circumstances make this work into a stand alone movie, but generally this is only available as a performance with the artist present and you will need to gain necessary papers for us to agree.

Shortcut url is http://peoplelikeus.org/themirror.html

People Like Us at MACBA, Barcelona
People Like Us at MACBA, Barcelona
PLU at Splice Festival 2018 – photo by Martyna Kubrak
PLU at Splice Festival 2018 – photo by Martyna Kubrak

Supporting works and articles (being added to over the coming months)
The Mirror CD contains some music from The Mirror, and other works
3 artist commissions coming soon reflections upon The Mirror by Dina Kelberman, Mark Gergis and Hearty White
Graham Duff – The Mirror a reflection upon the work and surrounding subject matter
Interview in The Wire Magazine in a phone conversation with Emily Bick of The Wire Magazine, Vicki Bennett reflects on The Mirror, Gone, Gone Beyond, and working with preexisting footage.

Continue reading

GONE, GONE BEYOND – 360 Surround Movie

Featured

New longer trailer, Summer 2018: https://vimeo.com/peoplelikeus/beyond
“Hey, hey, have you ever tried… reaching out to the other side?”
Gone, Gone Beyond is an immersive a/v spatial cinema work by People Like Us, which breaks the rectangle, smashing the thin screen into tiny fragments, looking beyond the frame, climbing through to see what’s behind.  It uses appropriated edited collage sewn together in a giant patchwork. Pull on a thread and watch whole new narratives expand and unravel all at once on a 360 palette.

The initial 47-minute film premiered in San Francisco 11-14 October 2017 at Recombinant Festival at Gray Area Foundation for the Arts.  We have been making this movie for Recombinant Media Labs own Cinechamber for quite some time now – it is a stand alone piece that you watch and listen to from the inside.

Stage 2 is currently in production through 2018 and we are looking for partners to present the hour-long piece from 2019 onwards.

Q&A with Hearty White: http://peoplelikeus.org/2017/gone-gone-beyond-qa/


The initial 47-minute  film “GONE, GONE BEYOND” by People Like Us premiered in San Francisco 11-14 October 2017 at Recombinant Festival at Gray Area Foundation for the Arts.  We have been making this movie for Recombinant Media Labs own Cinechamber for quite some time now – it is a stand alone piece that you watch and listen to from the inside.  Stage 2 is currently in production through 2018 and we are looking for partners to present the hour-long piece from 2019 onwards.

The Mirror, PLU Doc + Q&A in Oslo

People Like Us will perform The Mirror at Kunstnernes hus on Saturday 10 November 2018.  It will be followed by a Q&A with Rob Young and then a screening of Nothing Can Turn Into A Void.
Tickets  Kunstnernes Hus, Wergelandsveien 17, NO-0167 Oslo

19.00-19.40: Live performance: The Mirror
19.45-20.15: Q&A with Rob Young, from The Wire
2015-2045: PAUSE
20.45-21.45: Documentary: Nothing Can Turn Into A Void- An Art Apart: People Like Us. By Carl Abrahamsson 

The Horror!! At The Horse Hospital

London’s Horse Hospital are very happy to present a double bill of horror themed content from People Like Us (aka Vicki Bennett) – legendary figure the field of sampling / appropriation and regular host on the Horse Hospital’s beloved WFMU, alongside Gwilly Edmondez known widely as the many faceted godfather of Wild Pop, founding member of Radioactive Sparrow and one half of YEAH YOU.  

Friday 26 October 2018, Doors 7pm
Admission: £7.50 in advance / £10 on the door

Tickets: https://www.wegottickets.com/event/452097

People Like Us Concert in Oviedo, Spain

PEOPLE LIKE US concert
Event: Noche Blanca
Date: Saturday, October 6th 2018
Venue: Teatro Filarmónica, Calle Mendizábal, 3, 33003
City: Oviedo, Spain
url: www.nocheblanca.es facebook: https://www.facebook.com/nocheblancaovd/ instagram: https://www.instagram.com/nocheblancaovd/
This audiovisual concert commemorates the 25th (well, at least!!) year of People Like Us publishing work, featuring highlighted excerpts from the previous four a/v performances of People Like Us.

Interview with Marta Barbón from LA NUEVA ESPAÑA (OVIEDO)

Translation: 

You were so young, only sixteen, when you got interested in “collage”. ¿What pushed you to get into that first experimentation?

I have always been inspired by music and moving image rather than non-time-based media.  The only education that I completed was a pre-degree art and design foundation course and I immediately was most interested in photography rather than drawing or sculpture, etc.  I was lucky enough to have a tutor there to lent me his books on performance art, conceptual art and photo collage, and through that I started working with footage and pictures as “found” objects rather than trying to capture something through a lens alone.

Are you aware that you get into cut&paste in a time and being part of a generation that wasn’t digital? In which ways could that circumstance have influenced your work?

What I do is folk art in the age of digital reproduction.  When I started it was in the age of analogue reproduction.  I couldn’t predict how fast things would develop around 2000 with the age of faster cheaper computing and broadband internet.  When I started it was still possible to do quite a lot with a cassette four track, hifi-based electronics and a scalpel and glue.  I couldn’t go back to that way of working now and I don’t romanticise it at all.  I always had a vision of what I am doing now but had to wait, and in some ways I’m still waiting.  For the past two years I’ve been making a 360 surround immerse audiovisual work called Gone, Gone Beyond.  This is only possible to do with the fast computer that I now have, but I still am looking ahead and forward, or rather my visions of what I could do next are. 

Do you think that for digital natives, collage, or the fragmentation of things, is something more natural, or there is no difference?

No, I think computers and also analogue copying (cassette, photocopier, printing press) are modelled around the human mind’s way of working.  We learn and improve ourselves by copying and improvising, by cutting and pasting in our own lives.  That is all that we have taught machines to do for us. 

Another fact that is related to your job, is that digital media caused an over documentation. Nowadays everything is filmed, photographed and saved. What implies for an artist that works with found footage?

That is true, but most of what is documented is pretty trivial, and the analogue version of that might be taking photos and leaving them in the wallet that you were given them in when they came back from the photo developers.  I think once again it’s to do with the way that we are, we like to document as a “witness” to us having been somewhere or done something.  This is why people used to like to photograph a landmark, or themselves in a landmark, it isn’t necessarily because they are going to ever look at that again but they want to take the snap shot to some how validate that they were there, possibly with the intention that they would share it in the future with someone, or just with themselves.  Although a lot of the time they never will.k

There are some authors that think that this over documentation cancel out, in some way, the “oblivion” and get us into “loop dynamics”, blocking progress or experimentation, especially in artistic languages. Do you agree with that? What do you think about it?

I agree that we all are in danger of repeating ourselves over and over again rather than being on a variable cycle of gradual/sudden change.  Although the latter happens naturally if we try and do the same thing over and over anyway.   

How much importance do you give to movements like Collaborative Art and DIY? Nowadays what role plays the authorship in contemporary art and what it means to be an artist?

I would rather that there were not “movements”, since they imply that something is in or out, or good and bad.  I understand the need to categorise in order to communicate faster but at the same time it can trivialise the subject matter then toss it onto the scrapheap once it’s been summed up.  DIY is very important, to learn through repetition is how we finally come up with something that makes sense to us, something that is more than the sum of the parts.  Authorship is limited once something is published.  You cannot put something out into the public and still have 100% control of it.

What could we see in Oviedo on this trip trough 25 years of “People Like Us”?

I’ve been publishing work since 1991 (so it’s more than 25 years now, in fact!) and decided to make an audiovisual concert compiled from a number of different works.  So it’s a whirlwind rollercoaster ride!