Giacinto Scelsi – Anahit Orchestra and choir of Polish radio Pharmakon – Crawling on bruised knees Napalm Death – Peel Sessions 88: tracks 1 to 10 Bernard Parmegiani – Accidents Harmoniques – De Naturae Sonorum (GRM) Scott Walker – Clara Techno Animal – Hell Federico Schmucher – Print…? Whitehouse – Wriggle like a Fucking Eel Swans – Coward Robert de Visee – Courante Interprète Pascal Monteilhet (Orbe) – Zig Zag label Haino Keiji – First Blackness Disques Du Soleil Et De L’Acier Shapednoise feat. Justin K Broadrick – Enlightenment
Edition of 300. White vinyl edition, including leporello-folded booklet** Over the last couple of years, the Institute for Danish Sound Archaeology has been blowing minds, issuing a startling array of releases which singlehandedly reform the broad understanding of Denmark’s historic movements in sound. Not only were there revelatory reissues of works by Knud Viktor, Alison Knowles,Henning Christiansen, and Per Norgard, but there was that incredible Danish Tape Amateurs 1959 -1976compilation, each in their own way taking the ear and mind to uncharted depths. For their final release of 2018, they are at it again, this time with a beautiful 10”, rescueing long lost works by Lene Adler Petersen from 1971.
Lene Adler Petersen belongs to a radical generation of Danish artist who emerged during the 1960s, embracing the new mediums of performance art, installation, and film. Her efforts from the period of Se Mor. Nansensgade 1971 / Sangen om Kaffekoppen, the sound works featured on the Institute for Danish Sound Archaeology’s 10”, focused heavily on investigations into the contemporary representations of women, challenging conventional perceptions of aritistic production, which often took form in wild, collaborative performances and works created with her husband, Bjorn Norgaard.
While much of Adler Petersen’s work from this period was brash and confrontational, placing herself at the center of spectacle, Se Mor. Nansensgade 1971 / Sangen om Kaffekoppen, the only two know sound works by the artist, take the listener into more intimate realms. Each is built around the words and voice of Adler Peterson, expressing the ways in which everyday actions, with the organizations of life and work, hold social and political potential. Within Se Mor. Nansensgade 1971 we offered an image of the metaphorical possibilities embedded in Adler Peterson’s immediate surroundings and world, her words threading their way through radio sounds and that clatter of the day, while across Sangen om Kaffekoppen, her voice, cutting through hallow ambience, takes form in delicate song, leaving the impression that we are catching a captured glimpse of simple joy.
Two works of startling mater of fact intimacy and beauty, which, while its hard to believe, have never been released before. The Institute for Danish Sound Archaeology, drawing the ear toward yet another crucial and overlooked effort in the history of sound art. An absolute must, produced with the love and care for which the label is rapidly becoming known, on white vinyl with an extensive booklet with a new text by Brigitte Anderberg. Grab this one before it’s gone.
Making a film score for Andy Warhol's 'Empire' is a unique challenge. At
over eight hours long and with so little happening on screen, how does
one create a soundtrack that can engage the audience in witnessing 'the
passing of time' as Warhol wrote about 'Empire', whilst not drawing
overt attention to the score itself and away from the film? In the film
the Empire State Building stands like a bell tower, a beacon in the
skyline.
To structure the work Adkins used a bell-ringing pattern—NY Littleport
Caters, first rung on 23rd October 2016 in New York. This nine-bell
sequence is an example of change-ringing technique—in which the nine
bells are permuted continuously for several hours. From this Adkins
created a nine-chord harmonic sequence each with nine layers of sonic
material including old instruments and other ambient sounds recorded in
large architectural structures. Nine permutations occur every 48
minutes—the length of one of ten reels of film for 'Empire'. The
bell-pattern cycles through nine iterations, the combination of layers
being unique in each occurrence.
The final reel, of the Empire State Building in almost total darkness, is accompanied by extended filtered materials
from previous sections. The current recording presents the prime
sequence of materials with the nine harmonic sections in their original
order (1 to 9) and concluding with a section of the sound for the tenth
reel. The overall affect is one of a steady state of cyclical sonic and
harmonic movement that never repeats.
Phillip Johnston is an American composer/ saxophonist who lives in Sydney, Australia. His interests include jazz,
contemporary scores for silent film, the history of film music and comics. His
work includes jazz and contemporary composition, and music for film,
silent film, theater, musical theater, dance, songs, and a variety of
ensembles
The Metabolism Quartet is a mixture of two live performances in Washington DC: one recorded in isolation at Intangible Arts’ studio (4th September 2018) and one in public at Rhizome community arts space (8th September 2018). Both events were improvised autopsies of Lutosławski’s String Quartet by means of three granular synth engines and one tape-edit/concrète emulator. Thus, the original Quartet was reduced to a malleable clay and reconstructed by a neutral, synthetic quartet “conducted” by touch controls. . . .
We're playing an old CD White Christmas by Leonard Bernstein. So old I cannot find an image anywhere. Thanks for the reminder Lowlife, I'll find the Phil Spector Christmas album to play next
"Marley was dead, to begin with..."
So opens one of the most famous ghost stories of all time.
In the bleak midwinter, Victorians liked nothing more during the holiday
season than to light a candle and tell ghost stories. Ghost stories of
Christmases Past will walk once more, conjured with Victorian Chamber
metal band, Valentine Wolfe's haunted music and story teller Tally
Johnson's eerie ghost stories.
We hope to evoke shadows and mysterious flickers in the candlelight and
ghosts reaching out to pull you into music both familiar and unfamiliar
at the same time.
Comments
An Anthology Of Turkish Experimental Music 1961-2014
[Skeleton] - Sunset Melody
Gorgeous old favorite
Giacinto Scelsi – Anahit
Orchestra and choir of Polish radio
Pharmakon – Crawling on bruised knees
Napalm Death – Peel Sessions 88: tracks 1 to 10
Bernard Parmegiani – Accidents Harmoniques – De Naturae Sonorum (GRM)
Scott Walker – Clara
Techno Animal – Hell
Federico Schmucher – Print…?
Whitehouse – Wriggle like a Fucking Eel
Swans – Coward
Robert de Visee – Courante
Interprète Pascal Monteilhet (Orbe) – Zig Zag label
Haino Keiji – First Blackness
Disques Du Soleil Et De L’Acier
Shapednoise feat. Justin K Broadrick – Enlightenment
Lene Adler Petersen - "Se mor". Nansensgade 1971
Edition of 300. White vinyl edition, including leporello-folded booklet** Over the last couple of years, the Institute for Danish Sound Archaeology has been blowing minds, issuing a startling array of releases which singlehandedly reform the broad understanding of Denmark’s historic movements in sound. Not only were there revelatory reissues of works by Knud Viktor, Alison Knowles, Henning Christiansen, and Per Norgard, but there was that incredible Danish Tape Amateurs 1959 -1976compilation, each in their own way taking the ear and mind to uncharted depths. For their final release of 2018, they are at it again, this time with a beautiful 10”, rescueing long lost works by Lene Adler Petersen from 1971.
Lene Adler Petersen belongs to a radical generation of Danish artist who emerged during the 1960s, embracing the new mediums of performance art, installation, and film. Her efforts from the period of Se Mor. Nansensgade 1971 / Sangen om Kaffekoppen, the sound works featured on the Institute for Danish Sound Archaeology’s 10”, focused heavily on investigations into the contemporary representations of women, challenging conventional perceptions of aritistic production, which often took form in wild, collaborative performances and works created with her husband, Bjorn Norgaard.
While much of Adler Petersen’s work from this period was brash and confrontational, placing herself at the center of spectacle, Se Mor. Nansensgade 1971 / Sangen om Kaffekoppen, the only two know sound works by the artist, take the listener into more intimate realms. Each is built around the words and voice of Adler Peterson, expressing the ways in which everyday actions, with the organizations of life and work, hold social and political potential. Within Se Mor. Nansensgade 1971 we offered an image of the metaphorical possibilities embedded in Adler Peterson’s immediate surroundings and world, her words threading their way through radio sounds and that clatter of the day, while across Sangen om Kaffekoppen, her voice, cutting through hallow ambience, takes form in delicate song, leaving the impression that we are catching a captured glimpse of simple joy.
Two works of startling mater of fact intimacy and beauty, which, while its hard to believe, have never been released before. The Institute for Danish Sound Archaeology, drawing the ear toward yet another crucial and overlooked effort in the history of sound art. An absolute must, produced with the love and care for which the label is rapidly becoming known, on white vinyl with an extensive booklet with a new text by Brigitte Anderberg. Grab this one before it’s gone.
To structure the work Adkins used a bell-ringing pattern—NY Littleport Caters, first rung on 23rd October 2016 in New York. This nine-bell sequence is an example of change-ringing technique—in which the nine bells are permuted continuously for several hours. From this Adkins created a nine-chord harmonic sequence each with nine layers of sonic material including old instruments and other ambient sounds recorded in large architectural structures. Nine permutations occur every 48 minutes—the length of one of ten reels of film for 'Empire'. The bell-pattern cycles through nine iterations, the combination of layers being unique in each occurrence.
The final reel, of the Empire State Building in almost total darkness, is accompanied by extended filtered materials from previous sections. The current recording presents the prime sequence of materials with the nine harmonic sections in their original order (1 to 9) and concluding with a section of the sound for the tenth reel. The overall affect is one of a steady state of cyclical sonic and harmonic movement that never repeats.
99 cents on emusic.
His work includes jazz and contemporary composition, and music for film, silent film, theater, musical theater, dance, songs, and a variety of ensembles
(Beth Fleenor)
2004 Navarro - Please, Sit Down 2005 Navarro - Future Nature (Archives)
2010 - Black Bird 2010 - Desert (Free-Bandcamp)
2012 - Cycles 2012 - Sketches
2013 - Lost Cities 2013 Alexandre Navarro, Letna - Redfish
to him for being such a generous artist.
2014 AN - La Danse Des Substances 2015 - Daimon
and, another big thanks to DRONARIVM for their terrific year end compilations to get one in the mood!
2014 Past Disappears (Free X-Mmas Compilation)
- A significant piece of Danish music history . . .
- All About Jazz review
Free on Noisetrade for an e mail
Into The White Illuminations
(The New Year 2016 free compilation) (The New Year 2017 free compilation)
Illuminations II
(The New Year 2018 charity compilation)
Tompkins Square, December 24, 2018
2011 Christmas Is Not Your Friend 2012 Christmas Is Not Your Friend – Two
2013 Christmas Is Not Your Friend – Three 2014 Christmas Is Not Your Friend – Four
https://christmasisnotyourfriend.bandcamp.com
*Congregations (from my hometown), Anla Courtis, Lost Trail, fourthousandblackbirds,
Alexandre St-Onge, Thisquietarmy
We're playing an old CD White Christmas by Leonard Bernstein. So old I cannot find an image anywhere. Thanks for the reminder Lowlife, I'll find the Phil Spector Christmas album to play next
2015 Christmas Is Not Your Friend – Five 2016 Christmas Is Not Your Friend – Six
2017 Christmas Is Not Your Friend – Seven
So opens one of the most famous ghost stories of all time.
In the bleak midwinter, Victorians liked nothing more during the holiday season than to light a candle and tell ghost stories. Ghost stories of Christmases Past will walk once more, conjured with Victorian Chamber metal band, Valentine Wolfe's haunted music and story teller Tally Johnson's eerie ghost stories.
We hope to evoke shadows and mysterious flickers in the candlelight and ghosts reaching out to pull you into music both familiar and unfamiliar at the same time.
(one of my Christmas gifts)
A happy Christmas to all. I am thankful for all of your participation in this little corner of civil musicality.