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b/art's Playlist for Maandag, 24 April (17:30 - 19:16)
Tinkering with the Tympanics | |
| Cut | Artist |
|---|---|
| Slow Tumble | Jeff Greinke [1] |
| I was annoyed - Wreck This Hypnotic Mess 03w.02t.99m.amb | |
| Cradle | Pelican Daughters [2] |
| Zeit t3 | Noto |
| + Squeaky Sounds #54-58 | |
| Hybridized Meditative Electronix #1 | Ultra Milkmaids [4] |
| + Claire *Crackle* de Pop* Lune *Scriiit* [Debussy] | Alwin Bar [5] |
| + Water Pump | Dallas Simpson [6] |
| + Triple Sirens Sounds #65-68 | |
| + Dat Poulet Thing | b/art [7] |
| Belly Dance Hermeneutics | Omphalos Egyptiene |
| Scrapings Off the Hull Steim | Furt [8] |
| Weightless | Puppy [9] |
| Indoor Relaxation | Si-{cut}.db [9a] |
| Requiem Aeternam | Pierre Colombo conducts the Orchestre de l'Opera |
| de Vienne [10] | |
| Je Fuis ce Que Je Suis | Christof Migone [11] |
| Defenestrer | Christof Migone [11] |
| + Ecouter Le Radio / Son Idiote | Leçons Française |
| + When God Created You | Bump Titty |
| + Jay Cone Bimbo | Prince Tinymeat |
| La Nulle Vérité | Christof Migone [11] |
| + Balanced Composed Cut #2 | Laddio Bolocko [12] |
| The Flu, Shanghai A | Karen Mantle |
| Déterritorialisation | Christof Migone [11] |
| + 1,2,3,4 UGH | b/art [13] |
| Sinking of the Titanic #2-6 | Gavin Bryars [14] |
| I Wanna Take Common Sense To High Places Wreck ID 02.01wr.96verbo | |
| Arrival: The Ether | Badawi [15] |
| Going Off Duty Outro [extended] | |
| [1] "Changing Skies" on Staalplaat / Multimood is one of the ultimate ambience-mood records. Bells, distant drums, drones and electronic longing create a soundscape that is reminiscent of a 19th century landscape. | |
| [2] "Bliss" Pelican Daughters is a great conglomerate who masterfully cobble together styles and sounds. They were responsible for "Bicycle Trip" on the compilation "50 Years of Sunshine" celebrating 50 years of acid. This is a great evocation of what it might have been like to have been Albert Hoffman on acid as he rode his bike. I remember someone stole this cd from the record library of WFMU. Like so many ambient/sound- oriented bands the evocation of atmospheres replaces lyrics that might describe certain situations and feelings. Thus here we hear the distant train whistles from across a flat plain and they sound as plaintive and forelorn as Jimmy Rodgers or Hank Williams describes them to be. "Hear that lonesome whippoorwill?/ He sounds too blue to fly./ The midnight train is whining low,/ I'm so lonesome I could cry." Name: King Lear, Act III: "This flesh begot those Pelican Daughters." | |
| [3] "Clear / No Name" on Effe effe@mpd.biglobe.ne.jp is a Japanese label of noises and soundings also includes Carl Stone, John Hudak, M5BR, Sukora, Toy Bizarre and others. No ABBA. The material refuses to venture into anything resembling pieces, music or composition. But, despite this insouciant avoidance of composition there is still a sense of framing. | |
| [4] "Peps.CD" by the Ultra Milkmaids [great name] on Ant Zen www.ant-zen.com is a very interesting thrust into unsettling ambience. Subliminal and furtive - they call it "arctic minimalism". Regardless, they are all healthy antidotes to the hyper-cliched worlds of pop genres. This kind of stuff is actually just the aural flush your inner ear needs. What it does renovate the ear's nerve-endings so that things can sound enjoyable again. | |
| [5] "Le Piano Romantique" on fidelio, Holland, 1978. Full of scratches it acquires a new sound with each new scratch so that it sounds like it is being played through a geiger counter. | |
| [6] Stay tuned for much more from this soundings collagist. Dallas Simpson dallassimpson@waterpump.f9.co.uk had been appearing on labels such as Em:t, Time, Multimood - but is now without a label [ATTENTION OTHER LABEL MASTERS] ... In an interview with my co-conspirator at Wreck This Mess wtm.rl@lemel.fr in Paris [appeared in Octopus, in French] Dallas Simpson notes: 'You ask "Are you preparing an LP?", At my last count I have over 75 original DAT's and Mini Disks of my work recorded over the last five years. Time Recording never had the budget to put out an album from me, but there is certainly no shortage of material! One of my earliest works "Settlement", which features, among other things, a spirited improvisation at the back of a hotel amongst discarded rubbish and a large number of beer barrels, was sampled by Axel Libeert of Pablo's Eye for his recent release "All She Wants Grow Blue". Then there is the Stonevandal Suite - recorded at various locations it features the throwing of stones and other objects coupled with native ambience - the natural sound of the location. Pipechant was recorded down a large sewer pipe where I was dragging chains and using a flageolet as a sound object, it also incorporated certain sacred chants and texts. The acoustic of about 150 metres of very large sewer pipe was astounding resulting in a phenomenal naturally reverberant echo. Beachbeat was recorded on the Isle of Man, UK and featured some sound improvisations using found objects like driftwood, rope and rusty metal drums. Dimensional #59 involves free improvisation on a large ex-military sheet of titanium played with double bass and violin bows under a bridge on a disused railway track bed at about 3am. Improvisation for Tahirih was performed on the rocky shores of St Mary's on the Isles of Scilly, UK utilising items of scrap iron, which had been washed up or discarded onto the rocks, as sound objects. There are also many urban works recorded in city locations. The Kindergarten Suite, referred to above, features a series of sound improvisations in different locations on children's playground equipment, mainly performed solo at night during windstorms and rainstorms, but there is one movement recorded during the day with children.' MORE LATER... | |
| [7] "4 Sound Trax" From an unreleased cassette. I recorded this in 1990 when I was renovating a mansion outside of Paris. At lunch time I would find a different nook to eat my lunch. There was a chicken coop out back near the railroad trax and sometimes I would just wander around in there with a tape recorder. This irritated the roosters and led to a certain nervous trepidation among the hens. | |
| [8] "Angel" on the intrepid young label jdkprod@xs4all.nl Furt is dark but flippant, abstract but coherent. Annoying if you expect the expected. Delightful if you like a challenge. Write jdk to be put on their list to be notified about "interesting events", events involving noisemakers, musicicians, sound sculptors and various bleating polemicists who fall off the usual pop tympanic maps at places like STEIM. | |
| [9] "Horizontal" by Puppy is grungy dark drum and bass that is both hyperventilatingly "snel" and then lethargic as a bottomfeeder in a warm lagoon. This continues to grow on me. On Sprawl | |
| [9a] "Behind You" is his 2nd cd. This one is an email collaboration with noise-Bedouin and sonic-voyeur, Scanner. http://home.arthlink.net/~efrans/benford . It combines the improv of jazz and noise noodling with the rhythmic hyperventilations of Drum & Bass. | |
| [10] Mozart: Requiem" on Festival Classique by Pierre Colombo, the Orchestre de l'Opera de Vienne and the Wiener Kammer Chor. | |
| [11] "Vex: Zone Deleuze" by Christof Mignone on Avatar/OHM ohmavtr@meduse.org is a dense and mysterious tracking and tracing of the ephemeral cultural DNA left behind by Deleuze, Satie, and Artaud in collaboration with Gregory Whitehead, Michel F. Cote, and Louis Ouellet. Impressions lead in and out and away from meaning. Defiantly impressionistic, allusionary, accidental, and dense. | |
| [12] On HuNgaRian, 1999 | |
| [13] "Wreck This Mess" a 1990 cassette of sound collages. This cut combines some Jad Fair counting and some of the rougher sound effects from "Constipation Blues" by Screamin Jay Hawkins, here not screaming but groaning. | |
| [14] The Sinking of the Titanic by Gavin Bryars with Alexander Balenescu: This piece, one of my all-time favorite compositions, was conceived back in 1969, performed in the 1980s and put on CD in 1994. All materials for piece are derived from research & speculation about the sinking of the unsinkable luxury liner on April 14, 1912. The Titanic struck an iceberg at 11.40pm in the North Atlantic and sank at 2.20 am on April 15. The initial point for the piece was the reported fact of the band having played a hymn tune in the final moments of the ship's sinking. A number of other features of the disaster which generate musical or sounding performance material or which take the mind to other regions are also included. The final hymn played during those last five minutes of the ship's life is identified in an account as "Autumn" an Episcopal hymn then becomes the basic element of the music and is subject to a variety of treatments. It would appear that the musicians continued to play as the water enveloped them. My initial speculations centered therefore on what happens to music as it is played in water... | |