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His Royal Badness

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FB CASH [Dec. 31st, 2016|02:26 pm]
His Royal Badness
There's been a lot of talk about 'fake news' and facebook having an effect on politics this year. The terms 'echo chamber' and 'self reflecting cycle' have been used a few times.
The problem with facebook and the news is mainly down to organisations that proliferate articles need maximum reach and a larger and larger digital footprint. So the headlines on the articles have to skew the facts and articles are harder to read due to advertising competing for space.
The article is often just a vehicle to get people to click onto the site or page. Hence the term 'click bait'. The most popular tool in the cannon of the 'news' outlets is to be divisive and create conflict among users. A good argument is what they need to boost the figures.

Every time you venture an opinion on one of these pages or sites that input can be given a money value, a calculable figure that is used to sell advertising and product placement on the wider internet. Every piece of original content on facebook, an image, a thought or a reply can be calculated as a block of data which is used to value facebook on the global stock market.
It's no different to how old media worked. Except now they dont have to print stories, we are the narrative. The comments section is more reveling than the news.
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Interview transcript 11 [Nov. 8th, 2016|08:51 pm]
His Royal Badness
What inspired the name of the project ?
I think somewhere in my mind was a mix of Manchester’s industrial landscape and the famous Factory Records. 'Needle' because they are at once both delicate and dangerous objects.

What motivates you to create music and who are your influences ?
Motivations and influences change a lot but Throbbing Gristle and the early Krautrock bands were and still are massively significant for me. Recently been listening to Eno again.

To what degree would you say that your political views manifest in your work ?
If any politics exist in my work they are the politics of sexuality or mental health.

Would you say that your geographical location influences your music in any way ? Which other places inspire you ?
Definitely. l work from a former Cotton Mill in Salford (Islington Mill). The spectral landscape of the North has always been part of my life. The music l make is often called 'industrial' but that’s just a consequence of my experiences. My first jobs were in factories which have now either been gentrified or closed down.

What activity could people most likely use your music for ?
It's music to listen to in the dark.

What can we expect from your upcoming live set at the Foundations Festival in Salford ? Do you have any fond memories of Salford and the surrounding areas ?
My live set up consists of two (twin) sewing machines that are amped up through a series of effect pedals and fed back through synth circuits. The sounds l make are trying evoke the defunct sounds of cotton mills but with added narrative and atmosphere .
l have fond memories of Salford and the Kings Arms. I studied for my Visual Arts degree in Salford so it’s always been a part of my consciousness. Working here now, seeing the city in the mornings, the skyline of apartments of a city in perpetual change… It’s all very J G Ballard.
What question would you most like to be asked in relation to your work ? What is the answer ?
l suppose this would be ‘why machines and why so discordant?’ The answer is: the piano is a machine and our lives are discordant''
What next for the project - future shows, releases, ventures etc. ?
I’m planning shows in London and a few arts festivals. There will be a vinyl release of the new album 'My Demon Sister’ once l have the funds for that which I’m trying to generate by selling limited edition artifacts/merch

Random extra question 1 : Who is your favourite metal band ?
Black Sabbath, the first AND last metal band.

Random extra question 2 : What food might be most representative of your sound ?
Jalapenos... You taste them and hate them, then you think about them, then you need them.

Please could you send links to your music / videos / site and also a picture
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Art At The End Of History [Nov. 1st, 2016|12:55 pm]
His Royal Badness
Art At The End Of History
Part 2. Missions

Art, for all it's ambitions and aspirational clambering has historically had to set itself apart from the prevailing culture of the masses. In a kind of ritual self-harm or contrarian spite the mechanisms of creativity for art are always set to angst.
This is where we make the first distinction of what is art and here are the 3 questions we must ask if something is to qualify as art.

1- Where is the fight?
2- Who is against it?
3- Where is the poison?

Anything that cannot answer these questions could be art but is more likely to be 'craft'.

Art as a political cause can become both tiring and self abasing because the artist is inherently a political being and to find ruck with singular issues is to reduce the work to journalism or simple satire. Art (and more importantly, art critiques) from the second half of the 20th century had one simple job and that was to oppose fascism.

If there is any chance of certainty, rigid definitions of beauty or imposed collective agreements about aesthetics then critics would rally around anything that destroyed all notions of these things. Duchamp's 'Fountain' was never about anything other than;

1- fighting the imposed structure of reality
2- Being against anyone who believed what beauty was
3- Providing a shot in the arm to a burgeoning ultra conservative culture
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Needle Factory - Tender Machines [Oct. 26th, 2016|08:01 pm]
His Royal Badness
Needle Factory - Tender Machines
Needle Factory is the working name of artist and musician, Freddy May.
The project started in 2011 as an industrial music band, a kind of directionless but energetic dynamo of noise that would finally coalesce into the solo project that Needle Factory is today.

The main themes of the work are concerned with the city as a spectral landscape of memories, the industrial revolution and remains of that world. There is no romantic nostalgia in the work, only a desire not to let the foundations of world we inhabit be forgotten by current gentrification.
Other themes include gender politics, which manifests itself in physical appearance during performances and religious devotion/disbelief themes in my visual work which are echos of childhood and classic catholic guilt.

The method of working is a direct link to the history of the places work is made in. The old cotton mills of Manchester still ring with the sounds of dehumanising machines and it is these sounds Needle Factory is want to evoke.
Using sewing machines as scaled down intimate version of factory floor, these are wired up to various effects units to create a vast ambience and brutal noise.

The sewing machine is both a utilitarian necessity and ghost from the past. This tender machine can be at once delicate and brutal, intimate and vicious and charged with sexual politics. From the graceful fingers of women to the ferocious, relentless barbarism of the factory, gender would never be the same in the presence of machines.

"sounds like an explosion in slow motion, a listenable sexual car crash" Dave Fox (Manchester International Festival)
"like a bag of hammers being dragged through a church at night" Mark Corrin (Salford City Radio)
"The most rock n roll thing Iv ever heard without a note of music" Todd Robinson (Endtyme Records)
"Sewing Machines, Marshal Amps, Overdrive guitar effects.. it sounds fu*king dreadful" Rob Quine (Manx examiner)
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Art At The End Of History [Oct. 25th, 2016|12:06 pm]
His Royal Badness

Art At The End Of History
The Needle Factory Manifesto
Part 1. Allies and Enemies.

Kenneth Anger
Sun Ra
Leigh Bowery
Christian Boltanski
Hannah Hauxwell
Iggy Pop
Peter Sunde
Slavoj Žižek
Bill Drummond
Vivian Westwood
Tracey Emin

Jackson Pollock
Jack Kerouac
Hunter S Thompson
Eamonn Holmes
The Velvet Underground
Bob Dylan
Edward Snowden
Cornelia Parker
Anish kapoor
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Art At The End Of History [Oct. 25th, 2016|11:25 am]
His Royal Badness

Art At The End Of History
The Needle Factory Manifesto

So, here we are in the early 21st century. Artists, Pissing in Duchamp's Fountain. Numbed to the shock, blase' for the ugliness of reality and addicted to the drug while simultaneously regretful on its effects. We spread our collective legs, we devour meanings to get fucked for our 15 minutes of shame.

If we believed we were on a linear path from ignorant to enlightened then we were very much mistaken. In an information world art has melted into the cracks and will do anything to share a platform with the culture of the Meme, the dancing dog and the cat-bin-lady.

In this post-modern-post-ironic age it might be worthwhile to examine the meaning from scratch. Find that mission for art, oppose the new information action-less fascism disguised as social justice and allow the free exchange of controversies. This is a trigger warning.
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passengers [Jul. 20th, 2016|03:22 pm]
His Royal Badness
I only come to LJ when my brain needs to eject something.
My relationship with Fiona seems to have slowly petered out.. lm not sure if it was the distance between us or the lack of funds she's always complaining about. l told her enough times that l don't mind paying for stuff but then she feels like she owes me. I hadn't seen her for a couple of weeks and it seems to have reset our bond. We just talk online as friends would talk now and any flirtation always has a caveat of 'haha'.

I don't feel a great sense of loss and l don't consider it a 'failed' relationship.
She was nice to drive around with though. l sometimes think l don't want a life-partner, just passengers who can sit with me in the car and laugh with me at the world through the glass as it flashes by.

I always gravitate to people who feel disconnected from the world, like they are permanently in a state of 'Louis Theroux' voyeurism and fascination with how totally bonkers peoples lives really are from the outside.
This is probably why l don't settle, because after a while the petrol runs out and someone has to pay.

The Freddy and Fiona series probably wont get recommissioned
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Month of FEB [Mar. 7th, 2016|04:24 pm]
His Royal Badness
Had an interesting month with Fi (nee Finton)
Its very hard to date her. I think its impossible .. Like two magnets but with the polarity against each other. Totally attracted by nature but always the wrong way around .
We had a nice time last night driving at night through the snow covered hills in the clear night sky. l asked her to get out of the car so l could take this photo.
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(no subject) [Jan. 31st, 2016|09:49 pm]
His Royal Badness
I saw Finton today, or 'Fi' as she calls herself now. Id not spent a day with her for a while. Treated her to sushi and drinks. We said hello to President Lincoln at Lincoln Square and had a look in St Mary's (The Hidden Gem) church. We lit a candle for the 'sinners' and hoped god wasn't listening to our conversation.

I always liked Fi, she was only 17 when l met her. Its probably a good thing we never got together then because she probably wouldn't be talking to me now. She seemed to like being with me today and jokingly refers to our meetings as a 'girlfriend experience'. l'm really glad she doesn't act like a girlfriend because she would probably be a total nightmare. As she is l know l will be able to get to know her and work on creative projects with her.
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New year. [Jan. 12th, 2016|12:46 pm]
His Royal Badness
Since parting with Holly over Christmas (quite possibly the worst time for any break-up) l'v managed to settle into a new job and set up a date a with a transsexual. I say that flippantly because l worry about myself and speed at which l rebound. I'm pointing out that she is a transsexual because it did have some baring on my attraction to her, correct or not.

I first saw Grace working in on the Mac make-up counter at Selfridges. Tall, elegant, well spoken and somewhat flighty. At the time l didn't think *romantically about her, mostly because she had a long term boyfriend and knew l'd be wasting my time. I still haven't met her but that date is tonight.

I think l enjoy being under the spell of beauty, so much so that l will ignore many personality traits l would otherwise find abhorrent in order to stand beside it. Beauties can be forgiven for myriad crimes but to be ugly is to be presumed guilty without charge. This kind of beauty is, of course, acquired not given by nature and it is hard to hold onto once the spell is broken by domesticity.

*'romantically' - l think of all admiration from afar as romantic. (This could also be a disclaimer)
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