Lost Media Archive (The Radio Show) with BC Sterrett:
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from June 25, 2021
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Cool and Strange Music, Ephemeral Media, Found Sounds, Private Press and Outsider Music.
On
WFMU's
Sheena's Jungle Room
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June 25, 2021: Aquarius Exotica/Novelty, Found Sounds, Field Recordings, Oddities, Experimental pt. 3
(+ a touch of Clamazon and other randomness)
Episode art by Michael Brunelle
Listen to this show:
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| Artist | Track | Album | Format | Comments | Images | Approx. start time |
|---|---|---|---|---|---|---|
| Your Robotic DJ Speaks | ||||||
| Jon Baker |
Newstime BBC 1 & 2
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John Baker Tapes |
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0:01:51 (Pop-up) | ||
| ? | Ashtar Command Vrillon TV broadcast 1977 | Television Audio | "On Saturday, November 26, 1977 at 5:10 p.m. in the United Kingdom, a mysterious voice who called himself "Vrillon of the Ashtar Galactic Command" performed an illegal broadcast on live television during the height of an evening news program. The transmission lasted for over five minutes. This weird electronic voice - accompanied by a strange pulsating sound, echoes, and eerie distortions - overrode the normal audio broadcast signal in order to recite a lengthy statement warning viewers of an impending global disaster should humanity continue on its present course. (The hijack did not effect the video portion of the news broadcast and the illegal voice transmission was superimposed over the existing audio). Near the end of what authorities have termed as a "rogue transmission," parts of cartoon dialog can be heard, including the “Looney Tunes” theme song, the sound of an explosion, strange chatter, and other noises. The illegal broadcast was investigated by UK authorities who were unable to determine the source of the signal or who might have sent it. It is assumed that the broadcast was a hoax perpetrated by someone who sent a signal powerful enough to override the station's VHF transmitters, but in the past 30 years, no one has ever claimed responsibility for the hijack." - Full article can be found at: http://soundofheart.org Full transcript of the message: This is the voice of Vrillon, a representative of the Ashtar Galactic Command, speaking to you. For many years you have seen us as lights in the skies. We speak to you now in peace and wisdom as we have done to your brothers and sisters all over this, your planet Earth. We come to warn you of the destiny of your race and your world so that you may communicate to your fellow beings the course you must take to avoid the disaster which threatens your world, and the beings on our worlds around you. This is in order that you may share in the great awakening, as the planet passes into the New Age of Aquarius. The New Age can be a time of great peace and evolution for your race, but only if your rulers are made aware of the evil forces that can overshadow their judgments. Be still now and listen, for your chance may not come again. All your weapons of evil must be removed. The time for conflict is now past and the race of which you are a part may proceed to the higher stages of its evolution if you show yourselves worthy to do this. You have but a short time to learn to live together in peace and goodwill. Small groups all over the planet are learning this, and exist to pass on the light of the dawning New Age to you all. You are free to accept or reject their teachings, but only those who learn to live in peace will pass to the higher realms of spiritual evolution. Hear now the voice of Vrillon, a representative of the Ashtar Galactic Command, speaking to you. Be aware also that there are many false prophets and guides operating in your world. They will suck your energy from you - the energy you call money and will put it to evil ends and give you worthless dross in return. Your inner divine self will protect you from this. You must learn to be sensitive to the voice within that can tell you what is truth, and what is confusion, chaos and untruth. Learn to listen to the voice of truth which is within you and you will lead yourselves onto the path of evolution. This is our message to our dear friends. We have watched you growing for many years as you too have watched our lights in your skies. You know now that we are here, and that there are more beings on and around your Earth than your scientists admit. We are deeply concerned about you and your path towards the light and will do all we can to help you. Have no fear, seek only to know yourselves, and live in harmony with the ways of your planet Earth. We of the Ashtar Galactic Command thank you for your attention. We are now leaving the plane of your existence. May you be blessed by the supreme love and truth of the cosmos. |
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0:01:56 (Pop-up) | |
| Herb Alpert & The Tijuana Brass |
Bittersweet Samba
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Whipped Cream & Other Delights | "Had to list this. As old favorites go, they don't get much older, anyway. I was into this record when I was a little kid and my parents had a cassette (or was in an 8-track?) of it... You've probably heard it a million times. Tracks like "A Taste Of Honey" and "Whipped Cream" (written by Allen Toussaint) are imbedded in our cultural conciousness aren't they? Certainly the "racy" album-cover shot of the lady wearing all the whipped cream sure is - Soul Asylum thought so anyway. Trumpeter Herb Alpert and his Tijunana Brass (LA studio musicans, not real Mexican mariachis) were a '60s pop sensation, and this hit 1965 album was one of Alpert's best. Oh so swank instrumental jazzed up pop, Alpert's arrangements demonstrating his knack for mixing stick-in-the-head melodies with south-of-the-border exotica. You've got your bombastic, toe-tapping numbers, your Latin-tinged party-pleasers, your lush romantic themes, and a Tijuana-ized version of "Love Potion #9". Now, as part of a "Herb Alpert Signature Series", this classic has been reissued on cd in a digipack, all deluxe-like, complete with two bonus tracks, a booklet full of photos and liner notes, and a poster of that cover. Can't always be listening to new wave rock, glitchy electronica, droning dirge, and avant-garde jazz now can we? Dated but delightful." - Aquarius |
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0:06:44 (Pop-up) | |
| AUTODIGEST |
Side 2 (excerpt)
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A Compressed History Of Every Bootleg Ever Recorded | Cassette | "Autodigest might be best known around these parts for their confusing, and amusing, and to many wholly irritating record A Compressed History of Everything Ever Recorded, Vol. 2: Ubiquitous Eternal Live, which was essentially an entire record of applause, the cheering and clapping and whooping and hollering, from before and after various performances, all woven into an hour long 'piece'. In some weird way, the concept did actually become something almost listenable, a sort of strangely textured and dynamic bit of weirdo dronemusic. So we were pretty excited to hear this latest in Autodigest's Compressed History series, this one purporting to contain "Every Bootleg Ever Recorded"! The liner notes on the tape elaborates: "The Music on this cassette spans over 40 years and was originally recorded on analogue and digital equipment. We have attempted to distance ourselves as much as possible from the sound of the original recordings. Autodigest Volume 4 is an attempt to reveal all limitations of the source tapes." And so what we initially imagined as some insane plunderphonic cacophony of the Beatles and the Rolling Stones and Bob Seger and the Doobie Brothers and Hall & Oates reveals itself as something more akin to their applause record, or even more appropriately, Reynols' Blank Tapes record. As Autodigest have collected what sounds like the leaders, and the almost blank spaces between songs, the left over tape at the end of recordings, and woven them into a swirling abstract wash of hiss and whir, laced with little fragments of actual music, buried voices, muffled melodies, layered barely there rhythms, everything seems to be way off in the distance, and while there does seem to be full on rocking going on here and there, it's rendered nearly unrecognizable, buried beneath a haze of crackle and buzz, layer after layer after layer of tape hiss. The 'music' in this Compressed History definitely benefits from headphones. In the store or on the stereo, these sounds might tend to bleed and dissipate, blend into the sounds of daily life, but with headphones, it's a total minimal psychedelic abstract spectral sound headtrip, until the very end of side one, when the murky sonic clouds clear and a voice calls out from the stage "...stop letting off fireworks and shouting and screaming, I'm trying to sing a song..." The flip side begins with a flurry of shouting, and caterwauling from the stage, which begins crystal clear but quickly dissolves into another hissy buzzy swirl of abstraction and absence, a gorgeously textured sprawl consisting of the sounds that lurk between the sounds, not just tape hiss this time, recordings of muted muffled rocking, recorded from what sounds like the dressing room beneath the stage, the B-side much more dense and dark and noisy, like some *#@! up field recording (which it pretty much is), but still shot through with random voices, shards of music, bits of sirens, distant shouts, and all the other mostly non musical detritus of a surreptitiously captured live recording. Quite cool, if not entirely musical enough for most folks, but most aQuarians into far out found sounds will definitely dig this. For some reason this one is limited to ONLY 100 COPIES!!! So grab one while you can..." - Aquarius |
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0:08:42 (Pop-up) |
| ? | 3 Hardest Things to Say | N/A |
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0:14:48 (Pop-up) | ||
| Herb Alpert & The Tijuana Brass |
More and More Amor
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Going Places | "Ok, while I don't think we're gonna stock and review EVERY entry in Shout! Factory/A&M;'s new "Herb Alpert Signature Series", we did just list the reissue of the all-time classic Whipped Cream & Other Delights by Herb and his Tijuana Brass (and sold a bunch to some happy customers) so we'd be remiss then if we didn't also give some attention to this other classic Tijuana Brass album, Whipped Cream's follow-up Going Places. Also from 1965, this LP sported a bandolier of boppy south-of-the-border styled instrumental pop hits like "Tijuana Taxi" and "Spanish Flea" (which will ring bells with some of your for sure from its use on the old TV game show the Dating Game). Then there's the sweet "More And More Amor" and the lush va-va-va-vooom of "Mae". Also: Herb's Tijuana version of surf nugget "Walk Don't Run" alongside other familiar tunes like "I'm Getting Sentimental Over You", "Zorba The Greek" and the "3rd Man Theme". It's hard to keep a smile off the face while listening to this, really! Sunny fun from a pop world very different from today's." - Aquarius |
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0:15:15 (Pop-up) | |
| ? | 5/28/21 The Last Message on my Answering Machine | BC Sterrett's Cell Phone | 0:18:03 (Pop-up) | |||
| Altered Zones |
Eternal Dosez
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One Hitter Wonders | Cassette |
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0:18:31 (Pop-up) | |
| ANA D |
Satélite 99
|
Satélite 99 |
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0:21:49 (Pop-up) | ||
| Conet Project |
Counting CIA
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Recordings Of Shortwave Numbers Stations |
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0:27:51 (Pop-up) | ||
| John C Anderson |
"You Better Change Your Underwear"
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(Nervous Neil Smith collected CD-R sent to me long ago.) | 0:31:20 (Pop-up) | |||
| LEONA ANDERSON |
I Love Paris
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Music To Suffer By | (CD version listed on Aquarius. No review was made.) |
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0:32:59 (Pop-up) | |
| Away |
Mexico City 2012
|
Cities | Could this be any cooler of a concept for aQuarius consumption?! It's a disc of urban field recordings, it's on the always-excellent experimental Utech label, and it's by none other than Michel "Away" Langevin, best known as the amazing drummer and visual art director of French-Canadian sci-fi prog-thrash metal legends VOIVOD!! Heck, we love Voivod, we love Utech, and we love found sounds and environmental recordings. And this is a good one. Away, who did the cool cover art in his distinctive Voivodian style, has apparently been keeping his ears active outside of playing in his band, seeking out and recording interesting sounds - from the natural to the man-made, and often musical - while wandering about his hometown of Montreal or wherever in the world Voivod's touring has taken him. As per the album title, the pieces on this disc were each recorded in different cities - Montreal, Chicago, Mexico City, and various burgs in Europe. Edited into concentrated sound-collages, each track here holds many unique charms, rapidly unfolding in seamlessly seguing ambient soundbites, this sorta "plunderphonic" approach to real world recordings getting somewhat dizzying in its kaledoscopic changes from moment to moment. You'll hear the droning hum of passing traffic, industrial noises, church bells chiming, loudspeaker announcements, birds twittering, crowds chanting (sports fans? protesters?), what sounds like an ethnic festival or three, and lots of MUSIC, snippets of many sorts - it's part of our environment more than we know, as this disc proves. Away's microphone was drawn to all kinds of busking street musicians, marching bands, radios playing in stores, boom boxes blaringÉ there's pop and classical and gypsy folk and more. These recordings sound celebratory at times, intimate at others, but always convey a sheer love of sound. They definitely transport the listener, as effective field recordings do, right into very specific and "real" yet still somehow mysterious places and times. Anyone who likes the methodology of many of the Sublime Frequencies releases that take us armchair travellers to other lands will enjoy delving into this. We've read that Away has said, "I've always been fascinated by field recordings, tape collage and musique concrete. I was introduced to it by [late Voivod guitarist] Piggy as a youngster." Still, who would have thought that Away's first solo album would be a disc of field recordings? It's interesting, since Voivod tends to imaginationally explore the outer reaches of the cosmos in their space-metal constructs, that for this solo project Away would come up with something so "down to earth", but the spirit of exploration is the same. As usual with Utech, a nicely designed package, comes in slim but heavy black jacket printed with Away's art in metallic silver and white ink. Limited to 500 copies. |
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0:35:03 (Pop-up) | |
| B.Moniker |
Beatboxing With The Zombies
|
Station Identification | "B. Moniker's "Station Identification" parallels the Cassetteboy album also recently reviewed, as a peurile form of People Like Us inspired plunderphonia / channel surfing electronica. This homebrewed concoction recontextualizes tons of non-placed media samples from a number of archetypal genres (i.e. mad scientists, kung-fu movies, gameshow hosts, televangelists, newscast pollsters, hyperbolic commercials, children's radio dramas, and quick tunings through the fm radio band) with a smug sense of irony. Far more reliant upon musical interludes than the never-ending barrage of vocal cut-ups on Cassetteboy, B. Moniker forces his dialogues into a melange of samples from Steinski-like hip-hop instrumentals, those sad post-rock grooves that punctuate the earnestness of "This American Life," and filtered Autechrish breakbeats, all topped off with whimsical casiotone melodies." - Aquarius |
|
0:41:06 (Pop-up) | |
| André-Jacques Andrieu And Bernard Dumortier |
Cicadatra atra (cigale noire=cigalon), cicada orni (cigale Cacan) — Homoptères / Cicadidae
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Entomophonia - Chants D'Insectes |
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0:43:44 (Pop-up) | ||
| Andrew J.D. |
Mirage
|
One Hitter Wonders | Cassette |
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0:44:19 (Pop-up) | |
| 1349 Rykkinn |
Fields With Flowers In Crazy Colors
|
Brown Ring Of Fury | "Jester strikes again! After quite a few stellar releases by the likes of When, Ulver, Bogus Blimp, Kare Joao, Single Unit and others, this time the unpredictable (except for being predictably good) Norwegian avant-garde label Jester brings us another unknown quantity: the debut cd from something called 1349 Rykkin. Initially, this seemed like an exercise in distorted clobbering noise electronics with percussive hits and crunkly rhythms, definitely for fans of recent Merzbow and Kevin Drumm. Aggro but also varied and interesting. But, there's more -- four tracks in, the destructo stuff gives way to urban field recordings (passing cars, street sounds) and some really pretty, melancholic acoustic guitar playing in the form of "Field With Flowers In Crazy Colors", revealing Brown Ring Of Fury's sensitive side. Then the noise returns, but always, as before, with some left-field component. The penultimate track, "Best Boy", is also the album's epic centerpiece, being over 25 minutes of noise-throb akin to some ominous mechanical heartbeat, augmented with washes of spacey synth and vicious drones. Merzbow/Aube/Space Machine Japanoise territory here for sure. After that, there's a recording of some blokes in a bar on holiday (it seems) that makes for a confusing/bizarre/silly coda. Funny. Our research reveals that this disc is the work of one guy, Bard Erik Strand Torgersen, with help from a few friends (including Jester label boss Kristoffer Rygg, aka Garm of Ulver). 1349 refers to the year the Black Plague devastated Norway, and Rykkin is the suburb of Oslo where Torgersen grew up. Apparently he's a Norwegian techno pioneer who hasn't made music for years, this is a new direction for him and certainly far from "techno" as it's normally conceived!" - Aquarius |
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0:48:30 (Pop-up) | |
| The Android Sisters |
Barking Up The Wrong Tree
|
The Best of the Android Sisters | (Non-LP track) - Your D.J. "The robots are coming, indeed! And their latest invasion (released with much thanks and gratitude to our favorite record label of late, Japan's EM!) takes the form of this sexy electronic pop concept duo, The Android Sisters. Originally created by ZBS studios, a nonprofit audio production company from upstate New York whose purpose was to raise consciousness through media, namely via new-age-tinged sci-fi inspired radio plays, The Android Sisters began life in the early eighties as the house band in the radio series, Ruby the Galactic Gumshoe. Taking cues from Bruce Haack's electronic children's records from the '60s and '70s, The Sisters perform satirical "speak-songs" in a polyphonic monotone that goofily riff off of everything from Philip K. Dick inspired silliness ("Electronic Sheep") to Old McDonald ("Down On The Electronic Farm"). They soon developed their own cult following, so an album was released on Vanguard in 1984 called Songs of Electronic Despair. Using wonky keyboards, funky beats and spacey synthesizer passages, The Sisters frequent use of terrible puns and android-inspired humor didn't quite fit in with the wry detachment of the New Wave music of the time and has since been relegated to the realms of pop oddity, occasionally resurfacing as samples in trance, techno and hip-hop ("Ray-Dee-Oh", Sss-x Minus One"). But as radio-plays they are highly entertaining and engaging, silly and goofy for sure but as The Android Sisters themselves say, "Dumb is Fun! " Includes 48 page booklet with song lyrics and illustrations for each song." - Aquarius |
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0:51:38 (Pop-up) | |
| Banks Bailey |
Sycamore Canyon
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Vibrations From The Holocene | "Having contributed to a very nice collaborative drone record with Darren Tate and Ian Holloway about a year ago, Banks Bailey presents a solo offering of field recordings that mostly focus on the desert environs of his native Arizona. On this album, Bailey proves to be a very patient phonographer, as his recordings reveal a considered approach to choosing the sites to record and then waiting for those environments to erupt with sound. Anybody who has listened to Chris Watson's impeccable recordings and thought, "hmmm, I could do this too." has no doubt suffered from the frustration that such a task is far from easy. We'll be honest in saying that Bailey's aren't quite as good as Watson's (seriously, he's the best for a reason!), but don't take that as a swipe against Bailey's richly detailed sounds. The first two tracks originate in Ohio, with the first investigating the delirious sounds of tree frogs and cicadas crosshatching their sustained buzzings into a wonderful humid ambience from a summertime bog. The second recording contains some of the only industrial and manmade sounds in the recording, as Bailey wanders through downtown Springfield, Ohio where the only sounds can be heard from incoming trains with bellowing steam whistles and rumbling motors. The remainder of the recordings were culled from various excursions into the Arizona wilderness, where the diversity of birdlife is plainly evident. Tweets, trills, and whistles emanate from one bird (which may be something as common as a sparrow, but we can't tell you what it is) whom Bailey has recorded while the bird was perched above a trickling stream. Later on, Bailey documents a very melodious and quite loud bird (again, no telling which one), whose song is reflected with a slight natural echo from the environment. A windstorm through a canyon seems to annoy a red-tailed hawk (now, we can get that one!), who screeches into the wind. Each of the tracks clock in about 8-10 minutes, and provide lots of details of the environment. Exactly what we want in our field recordings, in a micro-edition of 75 copies!" - Aquarius |
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0:53:56 (Pop-up) | |
| Anton Maiden (Anton Gustavsson) |
Hallowed Be Thy Name
|
Anton Maiden | "We've listed this before, but it's finally available again after what seemed like an eternity. The fans clamored for more, and they will have more. Anton Maiden was a 19 year old from Sweden who loved Iron Maiden, and to prove it, he stole computer midi files of his favorite Maiden tunes, and sang tunelessly, but energetically over them karaoke style. Like I need to tell you that this is absolutley #*@! brilliant. So if you missed out on this the first time, or you just want to upgrade your xeroxed cover for the new improved color copied cover, go for it. Plus, it's no longer a cd-r, this is Anton Maiden in all his aluminum glory." - Aquarius |
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1:02:10 (Pop-up) | |
| Appendix Out |
Ein Grauer Star In Der Kavaller
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Lieder Fur Kaspar Hauser | (7" from the Clamazon catalog...) |
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1:08:43 (Pop-up) | |
| Matt Baldwin |
Asilomar (Side B)
|
Golden Twins | Cassette | "Two gorgeous longform tracks of psychedelic nu-age made with electric guitar, synths and field recordings from this Bay-Area based multi-instrumentalist and Psychic Arts label-head. The A-side, a deep excursion into synth drones that leads to an exuberant takeoff of ecstatic and majestic electric guitar leads, was only released on vinyl in an edition of ONE for his girlfriend/wife, so we can basically say these two tracks have not been widely available to a large audience. The B-side is more meditative with delicate filigrees of guitar widely spaced between long passages of field recordings of bird sounds and ocean waves. Both tracks filling up either side of the tape, these are two keen examples of intrepid guitar and synth wizardry from one of the Bay Area's finest practitioners. Limited!" - Aquarius |
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1:13:43 (Pop-up) |
| Apple Brains |
Apples X3
|
Get Fruity!! | (From the Aquarius catalog - no review) |
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1:32:36 (Pop-up) | |
| Baltyckie Szepty |
Zelint I
|
Baltyckie Szepty | "Members of Polish avant-hippy collective Atman (aka Magic Carpathians) are involved with this project, the title of which we think translates into English as "Baltic Whisperings". Recordings of seals swimming in the Baltic Sea are augmented with moog, guitar, woodwinds, plus various other instruments and electronics. They've created an aquatic musical document of bathing, breathing creatures and drifting, gorgeous, and sometimes sinister, shimmering soundscapes. This is the kind of "new age" music we can like. Very limited availability." -Aquarius |
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1:35:08 (Pop-up) | |
| The Conet Project |
Counting Control
|
Recordings Of Shortwave Numbers Stations |
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1:46:47 (Pop-up) | ||
| Bereft |
The Appropriately Titled Song
|
The Complete Bereft Vol. 1 |
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1:48:50 (Pop-up) | ||
| BATS (MICHEL BARATAUD) |
Rhinolophus hipposideros/ Eptesicus nilssonii/ Pipistrellus kuhlii
|
Ballades Dans L'Inaudible / The Inaudible World | "I know we've said this before, but the more crazy animal sounds we hear, the more we wonder why musicians even bother. Sure, you'd be hard pressed to get a pop song out of a sled dog or a purring kitten or an insect or a croaking frog, but for any other sounds all bets are off. Be it rumbling or clicking or squeaking or whirring or chirping or some impossible mix of all of those, or even (especially) those sounds we're not exactly sure how to describe, the animal kingdom has us beat. Thousands of years of evolution, technological advances, every manner of sound making device imaginable, and somewhere, there's some little furry thing that can make those same sounds with its mouth or by rubbing its legs together, or using some parts only they possess. That's what makes records like this totally fascinating and completely humbling. Most of us have seen bats at one time or another, flitting overhead, barely visible in the dark, or maybe at the zoo. But who among us has ever really heard a bat, until now? And these recordings aren't the mewlings and scratchings and other various sounds that small animals make, no these are the sounds of the bats' ultra sensitive sonar, recorded by expert Michel Barataud using a heterodyne detector and a simple tape recorder, culled from a study that lasted from 1988-1995 and covered 251 different bats of 20 different species! The neat thing about this collection is the fact that there are two discs, one with the original recordings, the other with those same recordings slowed down 10 times (we we can hear what the bats are "hearing"). So cool! The first disc is an expansive series of creaks and clicks, percussive knocks and thumps, strange melodies that sound like analog synths, high pitched pulses, shortwave-like squawks, chattering, sputtering Geiger counter-like rhythms, all very minimal and totally hypnotic. Sounds so much like a record on ultra-minimalist label Raster-Noton it's not even funny. One can almost imagine Ryoji Ikeda or Alva Noto, after spending years locked in a pressure sealed white cube of a studio, packed with state of the art sound modules, liquid cooled speakers, hard disc recorders, every bit of sound recorded and played back in a perfect listening vacuum, each click and tone painstakingly crafted and carefully placed, stepping outside with finished disc in hand, and then upon hearing the delicate fluttering pattern of clicks and chirps of the bats' sonar, throwing their disc to the ground and stomping it to bits, uttering in their best Simpsons Comic Book Guy voice, "Oh... I've wasted my life." Gorgeously spare and hauntingly musical, an uber-minimal intricate rhythmic soundfield with impossibly abstract barely there melodies and surrounded by the sounds of no sound. Lovely. On disc two, those very same sounds are slowed down, and thus become less like percussive clicks and more like melodic chirps. The slowed down versions sound remarkably like bird calls, but unlike the trills and songlike elements of birdsong, each note here is suspended all by itself, floating in a soundscape of ambient whir, before it is supplanted by the next. An extended melody spread out over minutes instead of seconds, like a 45 rpm record of bird calls played at 16 rpm. The sped up sounds on disc two are occasionally joined by the sounds of insects and the surrounding landscape, filling out the sound with the chirp of crickets and the croaking of frogs, a distant cacophony underpinning the bats' mysterious melodies. Included is a 50 page oversized book which contains all of the field notes, recording details, notes on each track and each animal, complete with charts and graphs, very dense and scientific, and there's even a page with a blank chart so you can go out there and take some field recording notes yourself!" - Aquarius |
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1:49:27 (Pop-up) | |
| Arboga Teenage Riot |
Track 6
|
Ugly Crew Demos | "This crazy slab of awesome noisy weirdness back in stock again!!! Once again, we can just tell when a record is going to be a hit here. Something intangible that tells us that everyone is going to absolutely love (or absolutely hate but still need to own) this record. We felt it about the Conet Project. Hatebeak. Daddy's Curses. The Thai Elephant Orchestra. And now Arboga Teenage Riot. The story goes like this. Our pal Nathan was on tour in Europe and while traveling through Sweden, two young ladies handed him a tape. The tape sat in the bottom of his bag, unlistened to for months. On his return to the states he remembered the tape, put it in the stereo, pushed play and had his mind promptly blown. And we'll have to admit we feel exactly the same way. Imagine ultra lo-fi, high energy techno / gabber, all four on the floor beats and cheesy synths, whistles and those kinds of melodies usually reserved for cheerleading competitions. "You All Ready For This?!?!" DONK DONK DONK DONK DONK DONK DONK! You know of what we speak. So now imagine two teenage girls, sometimes making up Swedish lyrics and chanting them in cute sing-songy harmonies, but more often, just screaming and growling hysterically in their best approximation of black metal vocals, sounding like they were just dubbed over the music on a boombox (which they probably were). This is the real digital hard core! Or more accurately ANALOG HARD CORE!!! If Alec Empire had any balls Arboga Teenage Riot would be the next DHR superstars. ATR take techno and black metal and riot grrl and DIY recording and turn it into a totally bizarre, fascinating, fun and funny masterpiece! The cover is pretty sharp too, a huge swamp beast thing emerging from the water, beneath a hot pink totally illegible Arboga Teenage Riot black metal style logo! ..." - Aquarius |
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1:52:12 (Pop-up) | |
| Marc Behrens |
Zones 1 - 4
|
20 Zonen | "Marc Behrens is a sound artist who hasn't gotten a whole lot of attention around these parts, despite having released plenty of compelling albums of conceptually driven compositions abstracting various environmental recordings. It's not surprising that he's worked with Francisco Lopez and Achim Wollscheid in the past, but to see that he collaborated with Atom TM certainly raises an eyebrow or two around these parts. But here, Behrens is operating in the clinical vein of the phonographer. 20 Zonen was originally commissioned for a radio piece and features field recordings entirely collected from a particular neighborhood in the German city Darmstadt. The 40 minute composition mixes the sounds of heavy industry, high-tech precision devices, rustic soundscapes of bird twitter at various ponds, and a brass band here and there. Behrens is more than happy to cut-up and reconfigure the sounds; but even in doing so, he typically keeps the sounds easily recognizable. This is most true when he chops up various sounds from an equestrian club, so the snorts of horses become a recursive theme as does a solemn clomp of a slow horse trot. Some of the more compelling sounds of 20 Zonen come from the specialized devices used at the GSI Helmholtz Centre for Heavy Ion Research, whose whirring machines emit eerie, strange gaspings and radioactively crackling drones that would be the envy any number of radical sound destroyers. Behrens' contextualization of these sounds is where the art lies in 20 Zonen, and there is a mathematical precision to his craft that makes this such an interesting listen!" - Aquarius |
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1:54:48 (Pop-up) |
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BC Sterrett:
Rich in Washington:
Rich in Washington:
BC Sterrett:
BC Sterrett:
BC Sterrett:
Rich in Washington:
Eric Kilkenny:
BC Sterrett:
Eric Kilkenny:
Rich in Washington:
Rich in Washington:
BC Sterrett:
BC Sterrett:
Sem:
BC Sterrett:
Rich in Washington:
BC Sterrett:
Rich in Washington:
BC Sterrett:
BC Sterrett:
Rich in Washington:
chresti:
BC Sterrett:
BC Sterrett:
Rich in Washington:
Rich in Washington:
ani:
chresti:
Rich in Washington:
BC Sterrett:
BC Sterrett:
ani:
Such a good show so far:)
BC Sterrett:
Carmichael:
chresti:
BC Sterrett:
BC Sterrett:
Rich in Washington:
chresti:
Rich in Washington:
BC Sterrett:
ani:
Eric Kilkenny:
ani:
BC Sterrett:
BC Sterrett:
BC Sterrett:
spodiodi:
BC Sterrett:
BC Sterrett:
BC Sterrett:
ani:
ani:
spodiodi:
Carmichael:
chresti:
spodiodi:
Carmichael:
BC Sterrett:
chresti:
BC Sterrett:
ani:
spodiodi:
Rich in Washington:
Rich in Washington:
BC Sterrett:
Eric Kilkenny:
BC Sterrett:
BC Sterrett:
BC Sterrett:
BC Sterrett:
BC Sterrett:
chresti:
Rich, a good air purifier cools a little bit.
spodiodi:
chresti:
BC Sterrett:
Rich in Washington:
BC Sterrett:
BC Sterrett: