When it was released in the year 2000, In Poly Sons presented this album
as follows: "Alice is to wonders what the Penicillium is to Roquefort.
Wonders which punctuate the life of astonishment, small fears,
obsessions or absurdities. Not a life in candy pink, where Manichaeism
governs rules social life." This veritable “concept-album”, the work of Klimperei, a duo from Lyon (France) at the time, Françoise Lefebvre and
Christophe Petchanatz, had long been sold out in its compact disc
version, a very beautiful object set with a cover art created by Alfie
Benge (well known for her record sleeves for Robert Wyatt).
20 years after its CD release, Alice Au Pays Des Merveilles is published
in digital version, on April 1, 2020, a beautiful facetious date quite
appropriate.
Tribe Tapes is honored to issue Klimperei's latest cassette, "Presque
fini". For over 30 years, Christophe Petchanatz (France) has used the
alias of Klimperei to produce intricate, charming music that defies the
conventions of genre. Avant-folk, minimalism, and toy-box music are all
brought into the bigger picture.
"Presque fini" was produced under the effects of quarantine and is a
product of our times. For example, the opening piece, "dehors on ne se",
roughly translates to "outside we do not". Melancholic strings swell
and glisten amongst the floating crackles of noise. The remnants of folk
guitar bring to mind simpler times. Though the subject matter is
serious, the music is never cynical. In the face of social isolation,
Christophe has produced an incredibly human work. We hope too that the
compositions on this tape bring you the same joy and optimism that
they've brought us.
Composed in 2020 by Reinhold Friedl
All sounds made with the historic electronic piano Neo-Bechstein
Thanks to David Balzer and Ralf Meinz
Composer and pianist, director and
founder of Zeitkratzer. Friedl studied piano with Renate Werner, Alan
Marks, and Alexander von Schlippenbach, composition with Mario
Bertoncini and Witold Szalonek. As composer and performer more than
hundred CD-releases, director of the ensemble zeitkratzer, commissions
from Wiener Festwochen, BBC London, the French state, Berliner
Festspiele, ZKM Karlruhe, etc.
Numerous articles and radio features on electronic music, especially for
WDR Studio elektronische Musik Cologne. Lectures and teaching at
University Paris VIII, Berlin UdK, London Goldsmiths University,
Musikhochschule Basel, Music University Thessaloniki, a.o. Guest
professor for artistic research/performance at Katarina Gurska
Institute, Madrid, Spain. Reinhold Friedl studied mathematics in
Stuttgart, Berlin and Marseille, Ph.D. "Philology of electroacoustic
music - Iannis Xenakis electronic music as paradigm", Goldsmiths
University London. He lives in Berlin and Vienna and tours worlwide.
Jac Berrocal: Trumpet, Voice
David Fenech: Voice, Lyrics, Drum Processing, Electric Bass, Electric
Guitar, Rhythmic Patterns, Hand Clapping, Electronic Rhythm, Percussion,
Vincent Epplay: Synthesizer, Electronics, Voice, Sampling, Persephone, Effects, Drums, Field Recordings
"It’s like The Bonzo Dog Band meeting Scott Walker, with Codona booked for the interval music" (Brian Morton - The Wire)
"Jazz, Dub, Musique concrete and
a Gallic punk spirit, coalesce into a sound so potent it is a wonder it
hasn’t been done before" (Rewind Forward)
"An eclectic mix of folk anarchy, West Coast jazz cool, African
kalimba, French poetry and studio dub. All the beauty and terror of jazz
at its most lawless."(Andrew Male - Mojo)
"A few years ago we were invited to do an ensemble piece at the
Improvisation Summit of Portland, an annual festival of improvised music
and dance. We were interested in playing with a sax quartet and
percussion as a kind of expansion of our respective instrumental voices -
the sax quartet being a multiplication of Jonathan's vocalistic
lyricism, and Matt Hannafin's unusual percussion setup as a foil for my
scattered synth bursts.
The compositional inspirations were equal parts modern horror
soundtracks, the quiet intensity of Arvo Part, Gagaku's blasting wails
and pointillistic percussion, Stockhausen's 70s drone phase, and our
favorite aspects of free jazz. The piece took the form of loosely
notated, workshopped guided improvisations within the confines of a set
structure". . .
Following his retirement in 1998, composer and founding figure of
cybernetic music Roland Kayn (1933-2011) did not relax the pace of his
output. On the contrary, his oeuvre grew exponentially, and some of his
most expansive works were to take shape at his home studio in Nieuwe
Pekela in the Dutch province of Groningen. Through the late 1990s and
early 2000s, several of these compositions were released on CD on the
composer’s own label, Reiger-records-reeks, which was revived in 2019 by
his daughter Ilse for the momentous release of ‘Scanning’ (1982-83).
However, the Lydia-und Roland-Kayn-Archiv holds dozens of these works,
many of them as ambitious in scope as classics such as ‘Tektra’ and
‘Infra’, which have earned Kayn a loyal following among the current
generation of electronic music enthusiasts.
In 2003 alone, Kayn produced 15 pieces. One of these – the
hitherto-unheard ‘The Man and the Biosphere’ – now forms the first
release for an exciting new Bandcamp page dedicated to works from the
archive.
released June 19, 2020
The first track of the 4 track album MULTIPLEX SOUND-ART - CD 004, "Requiem pour Patrice Lumumba".
Patrice Émery Lumumba was the first Prime Minister of the independent
Democratic Republic of the Congo (then Republic of the Congo), but was
murdered by his opponents, with the complicity of the Belgian
government, the United States and the UN.
Kayn first heard of these events from his friend, conductor Andrzej
Markowski. He had never before written a requiem, and elected to make
Lumumba his subject.
'Requiem pour Patrice Lumumba' was previously released on the ‘Multiplex
Sound-Art’ CD in 2004 (Reiger-records-reeks, KY-CD 004-1/2). The
recording has now been remastered and rereleased upon the occasion of
Bandcamp’s Juneteenth stand for racial justice and equality.
released August 6, 2020
During World War II the Isle of Man was used as the primary site for the
internment of "civilian enemy aliens", both male and female.
- Realisation: Reiger Recording Studio, Nieuwe Pekela, 2003.
Roland Kayn was born in Germany in 1933 and
started composing at an early age. He was just 20 years old when he won
first prize at the festival of 20th century music in Karuizawa, Japan.
Performances of his composition Aggregate (1959) resulted in
him becoming persona non grata on the concert stage. Shortly after
working in electronic studios in Poland, Germany and Italy, he joined
the Gruppo Nuova Consonanza and this crucial detour
into improvisation with Franco Evangelisti, Aldo Clementi and Ennio
Morricone helped him find his definitive musical direction. Kayn decided
to pursue his musical quest through composition with the intention,
strange as it may seem, of excluding the composer as much as possible.
He concentrated solely on electronic and electro-acoustic music from
1970 onwards.
From an early age, Kayn was influenced by information theorists
rather than other composers, and it was as a result of this that he
started using the term “cybernetic” when describing his music.
Basically, Kayn would design networks of electronic equipment and then
develop a system of signals and commands that it could obey and execute.
Words like “melody,” “harmony,” and “rhythm” do not apply to Kayn’s
music. Music, supposedly, should have every detail defined by the
composer. Kayn insisted that his “cybernetic” music should regulate
itself, thereby relinquishing the narrative elements and the
psycho-emotional details usually associated with the ideas of
“authorship” and “work of art.” This meant that even he could not
predict the eventual composition, which were sound processes without an
epicentre, where every sound is equally important. For Kayn, “Music is sound, which is sufficient in itself.”
Roland Kayn felt that present day composers should avail themselves of
the electronic techniques at their disposal and that electronic music is
more than just the result of rapidly expanding technology.
– Frans van Rossum
released September 4, 2020
'Made in the NL After the Sixties and Beyond' finds Kayn examining his
early groundbreaking work from the vantage point of his later years. New
sounds remembered, their indefinable power undiminished.
Drawing lines between the lunar cartography of the Sonology-era tapes
and the playful, plunderphonic impulses of his late work, November Music
is perfect, capsule-sized Kayn. The piece forms a convenient
introduction for any new listener, while offering the connoisseur a
series of tantalising glimpses into his prismatic bank of materials.
A supplement to 'Cantus, Descant', 'Figures In Open Air' offers almost
three hours of live recordings and variations. Featuring performances
for pipe organ and solo electronics while on tour at Roter Salon in
Berlin, Rockefeller Memorial Chapel in Chicago, the Museum of Jurassic
Technology in Los Angeles, Église du Gesù in Montreal, and the Lab in
San Francisco, from 2018 - 19.
- This piece first appeared in truncated form on our first self-published
CD, 'burned & frozen', which was produced as an outlet for the piece
we had left over from 'frozen north' when the distributor of that fine
debut wouldn't let us kick off our career with an insanely long triple
album. back then, private CD manufacture was a costly undertaking, but
we wanted to release as much material as possible, & so for a few
years we made CDr copies at great expense (blanks costing £15 each);
these originals are now scarce, although professionally-made versions
are still available, & you can get most of them here too.
but this is 'armistice' on its own, uncut and triple the length released on its 25th anniversary.
Following his retirement in 1998, composer and founding figure of
cybernetic music Roland Kayn (1933-2011) did not relax the pace of his
output. On the contrary, his oeuvre grew exponentially, and some of his
most expansive works were to take shape at his home studio in Nieuwe
Pekela in the Dutch province of Groningen. Through the late 1990s and
early 2000s, several of these compositions were released on CD on the
composer’s own label, Reiger-records-reeks, which was revived in 2019 by
his daughter Ilse for the momentous release of ‘Scanning’ (1982-83).
However, the Lydia-und Roland-Kayn-Archiv holds dozens of these works,
many of them as ambitious in scope as classics such as ‘Tektra’ and
‘Infra’, which have earned Kayn a loyal following among the current
generation of electronic music enthusiasts.
In 2003 alone, Kayn produced 15 pieces. One of these – the
hitherto-unheard ‘The Man and the Biosphere’ – now forms the first
release for an exciting new Bandcamp page dedicated to works from the
archive.
released June 19, 2020
The first track of the 4 track album MULTIPLEX SOUND-ART - CD 004, "Requiem pour Patrice Lumumba".
Patrice Émery Lumumba was the first Prime Minister of the independent
Democratic Republic of the Congo (then Republic of the Congo), but was
murdered by his opponents, with the complicity of the Belgian
government, the United States and the UN.
Kayn first heard of these events from his friend, conductor Andrzej
Markowski. He had never before written a requiem, and elected to make
Lumumba his subject.
'Requiem pour Patrice Lumumba' was previously released on the ‘Multiplex
Sound-Art’ CD in 2004 (Reiger-records-reeks, KY-CD 004-1/2). The
recording has now been remastered and rereleased upon the occasion of
Bandcamp’s Juneteenth stand for racial justice and equality.
released August 6, 2020
During World War II the Isle of Man was used as the primary site for the
internment of "civilian enemy aliens", both male and female.
- Realisation: Reiger Recording Studio, Nieuwe Pekela, 2003.
Roland Kayn was born in Germany in 1933 and
started composing at an early age. He was just 20 years old when he won
first prize at the festival of 20th century music in Karuizawa, Japan.
Performances of his composition Aggregate (1959) resulted in
him becoming persona non grata on the concert stage. Shortly after
working in electronic studios in Poland, Germany and Italy, he joined
the Gruppo Nuova Consonanza and this crucial detour
into improvisation with Franco Evangelisti, Aldo Clementi and Ennio
Morricone helped him find his definitive musical direction. Kayn decided
to pursue his musical quest through composition with the intention,
strange as it may seem, of excluding the composer as much as possible.
He concentrated solely on electronic and electro-acoustic music from
1970 onwards.
From an early age, Kayn was influenced by information theorists
rather than other composers, and it was as a result of this that he
started using the term “cybernetic” when describing his music.
Basically, Kayn would design networks of electronic equipment and then
develop a system of signals and commands that it could obey and execute.
Words like “melody,” “harmony,” and “rhythm” do not apply to Kayn’s
music. Music, supposedly, should have every detail defined by the
composer. Kayn insisted that his “cybernetic” music should regulate
itself, thereby relinquishing the narrative elements and the
psycho-emotional details usually associated with the ideas of
“authorship” and “work of art.” This meant that even he could not
predict the eventual composition, which were sound processes without an
epicentre, where every sound is equally important. For Kayn, “Music is sound, which is sufficient in itself.”
Roland Kayn felt that present day composers should avail themselves of
the electronic techniques at their disposal and that electronic music is
more than just the result of rapidly expanding technology.
– Frans van Rossum
released September 4, 2020
'Made in the NL After the Sixties and Beyond' finds Kayn examining his
early groundbreaking work from the vantage point of his later years. New
sounds remembered, their indefinable power undiminished.
Drawing lines between the lunar cartography of the Sonology-era tapes
and the playful, plunderphonic impulses of his late work, November Music
is perfect, capsule-sized Kayn. The piece forms a convenient
introduction for any new listener, while offering the connoisseur a
series of tantalising glimpses into his prismatic bank of materials.
- released November 6, 2020
On an autumn afternoon in 1982, Roland Kayn improvised on the piano for
his wife and muse Lydia, recording as he played. As an echo from the
past, to celebrate all she meant to him and all she did for him, we
release 'Dino Concerto'* on her birthday, November 13.
*Dino refers to the name Rolandino, given to him by his fellow composers during his working life in Rome.
**The cover artwork is made out of a selection from over 300 flowers Roland painted for his wife during his life.
This new album (the tenth in their discography) was born from two
ambitions: to pay tribute to Soft Machine's Third on form (4 sides / 4
titles)
and to philosopher Gilles Deleuze (Difference and Repetition is the
title of his thesis) on the contents. The 4 long pieces of this double
concept album were developed over 2 years and each has a different style
and climate. Bold and kaleidoscopic, Difference and Repetition perfectly
synthesizes the musical and literary obsessions of Palo Alto
Formed in Paris in 1989, Palo Alto released his first album (a cassette)
on the Italian label Old Europa Cafe in 1990. The year 2020 is therefore
an opportunity to celebrate the 30th anniversary of this first stone,
the founder of a discography rich with 10 albums. The band is now
composed of Jacques Barbéri(also a science fiction author), Laurent
Pernice (ex-member of the French industrial band Nox) and Philippe
Perreaudin (also coordinator of several compilations and reissues:
Legendary Pink Dots, Un Département, Nino Ferrer
Revisited, Ptôse, Hardy Fox…).
Literature, and particularly science fiction, is a leitmotiv in the band's
work. Antoine Volodine, Thomas Pynchon, Philip K. Dick, Lewis Carroll
or J. G. Ballard have been invoked many times.
In recent years, Palo Alto has multiplied musical collaborations with,
among others, The Residents, Ptôse, Klimperei, Tuxedomoon...
From industrial music to inextricable electronic ramifications, by
making a detour through improvisation, the musical universe of Palo Alto
is multifaceted. Their new album is no exception to this rule…
Zwartjes is new to me and I couldn't find much written about him in english - Maybe @rolandkuit knows more than I was able to find out. (just a thought)
- So "we" will have to do with a google translate from dutch:
Frans Zwartjes (Alkmaar, 1927) is a composer, photographer, draftsman, painter and sculptor. However, he acquired the most fame as a filmmaker.
In 1968, Zwartjes began to experiment with film as an artistic medium. Short films, mostly in black and white, with high contrast, a very own narrative and often without any text. "I'm someone who thinks you should look at the movie, not what's being filmed."
Everything that happens when making a movie is done by Zwartjes himself. From camera mood, direction and assembly to the music, the sound and the development of the movies. Also internationally, the style of Zwartjes is considered to be influential. Susan
Sontag (1933-2004) - author of, amongst others, the famous essay bundle
On Photography (1977) - called him the most important experimental
filmmaker of his time.
The films of
Zwartjes are characterized by unexpected perspective and image changes,
which gives them an alarming and somewhat psychedelic character.
Extreme
close-ups of eyelashes, lips and shadows are interspersed with Spectator
(1970) with recordings that also portray the persons to whom they
belong. In Living (1971) Zwartjes filmed himself and his wife Trix while rubbing through an empty house. The recordings are made with a wide-angle lens. The film is not spoken, it is a combination of sounds, perspectives, empty spaces and facial expressions. "The eye moves, the ear is moved," said Zwartjes.
Zwartjes studied music and played viola at the Dutch Opera. In 1990 he was the first winner of the Ouborg Prize. Werk van Zwartjes was exhibited in, among others, the Fotomuseum The Hague, GEM (The Hague), EYE (Amsterdam) and ICA (London).
- Really fascinating stuff and a must check out for all interested in the history of electronic music.
Trunk Records Ldt, Nov 15, 2020
Frans Zwartjes’ teaching – or anti-teaching – appointment at The Free
Academy (The Hague) was crucial in facilitating and maintaining his
radical approach to filmmaking. It is also cited by generations of
artists and former students as central to the development of their
ability to think and act creatively, apart from the commercial interests
which attempt to define our understanding of practicing arts today.
Just under an hour in length, The Teacher is an album of
experimental recordings made at the Free Academy, many as exercises with
Zwartjes’ students; featuring the voice of the late, great performance
artist, writer and frequent muse, Moniek Toebosch.
ETA: Here's the response to my question from @rolandkuit
I know Frans Zwartjes from the Vrije Academie Den Haag were he teached experimetal film. At
that time I was teaching Sound Art there. Before filmmaking, he studied
music for 5 years. Especially of interest was his cooperation with
France's-Marie Utti, the cello player. Film: Confidential. More on Frans Zwartjes: https://www.eyefilm.nl/en/film/frans-zwartjes-home-sweet-home and http://hollandsemeesters.info/posts/show/8990
First new Transatlantic material since 2014. The story is they could not agree whether it was a single or double album so they made more than one version. Pre-orderable now in a whole bunch of different versions/formats at the link. I managed to be restrained and only order both CD versions and the Blu-Ray.
Zwartjes is new to me and I couldn't find much written about him in english - Maybe @rolandkuit knows more than I was able to find out. (just a thought)
- So "we" will have to do with a google translate from dutch:
Frans Zwartjes (Alkmaar, 1927) is a composer, photographer, draftsman, painter and sculptor. However, he acquired the most fame as a filmmaker.
In 1968, Zwartjes began to experiment with film as an artistic medium. Short films, mostly in black and white, with high contrast, a very own narrative and often without any text. "I'm someone who thinks you should look at the movie, not what's being filmed."
Everything that happens when making a movie is done by Zwartjes himself. From camera mood, direction and assembly to the music, the sound and the development of the movies. Also internationally, the style of Zwartjes is considered to be influential. Susan
Sontag (1933-2004) - author of, amongst others, the famous essay bundle
On Photography (1977) - called him the most important experimental
filmmaker of his time.
The films of
Zwartjes are characterized by unexpected perspective and image changes,
which gives them an alarming and somewhat psychedelic character.
Extreme
close-ups of eyelashes, lips and shadows are interspersed with Spectator
(1970) with recordings that also portray the persons to whom they
belong. In Living (1971) Zwartjes filmed himself and his wife Trix while rubbing through an empty house. The recordings are made with a wide-angle lens. The film is not spoken, it is a combination of sounds, perspectives, empty spaces and facial expressions. "The eye moves, the ear is moved," said Zwartjes.
Zwartjes studied music and played viola at the Dutch Opera. In 1990 he was the first winner of the Ouborg Prize. Werk van Zwartjes was exhibited in, among others, the Fotomuseum The Hague, GEM (The Hague), EYE (Amsterdam) and ICA (London).
- Really fascinating stuff and a must check out for all interested in the history of electronic music.
Trunk Records Ldt, Nov 15, 2020
Frans Zwartjes’ teaching – or anti-teaching – appointment at The Free
Academy (The Hague) was crucial in facilitating and maintaining his
radical approach to filmmaking. It is also cited by generations of
artists and former students as central to the development of their
ability to think and act creatively, apart from the commercial interests
which attempt to define our understanding of practicing arts today.
Just under an hour in length, The Teacher is an album of
experimental recordings made at the Free Academy, many as exercises with
Zwartjes’ students; featuring the voice of the late, great performance
artist, writer and frequent muse, Moniek Toebosch.
ETA: Here's the response to my question from @rolandkuit
I know Frans Zwartjes from the Vrije Academie Den Haag were he teached experimetal film. At
that time I was teaching Sound Art there. Before filmmaking, he studied
music for 5 years. Especially of interest was his cooperation with
France's-Marie Utti, the cello player. Film: Confidential. More on Frans Zwartjes: https://www.eyefilm.nl/en/film/frans-zwartjes-home-sweet-home and http://hollandsemeesters.info/posts/show/8990
Last year I was contacted about participation in a reunion exhibition of 'teachers' or better 'Anti-teachers' of the Vrije Academie Den Haag. Because of COVID-19 it was skipped. Hopefully next year 2021. A book is in the make about these wild experimental years (not by me).
I've been searching for info about Moniek Toebosch:
Moniek Toebosch made the angel transmitter on behalf of the Van der Leeuw Foundation as part of the Abri project. Moniek Toebosch has conceived of the car as a contemporary hiding place, a tin cocoon in which people feel protected and can be themselves. Those who tuned in to the specified radio frequency would hear angels singing along the entire length of the Houtribdijk (29 km). At random moments the music echoed the words hope, faith and love in five different languages. Road signs alerted traffic to the radio frequency. The music is composed, sung and put together by Moniek Toebosch. The programming and editing of the vocals was developed and performed by Harm Visser. The transmitter was on the air until December 31, 1999.
Beirut born visual artist and vocalist Raed Yassin and Bern born improvisor and composer Paed Conca
formed PRAED in 2006. The project is rooted in the duo’s eagerness to
explore the Egyptian popular music genre of shaabi – as a reflection of
Egypt’s social structures, and how it relates to other trance inducing
styles of music. PRAED’s performances seek to demonstrate shaabi's
“interconnectedness with other psychedelic and hypnotic musical genres
in the world, such as free jazz, space jazz and psychedelic rock among
others”.
Core members Yassin and Conca have variously
collaborated with many musicians and experimented with different
formations of PRAED over the years. In November 2018, the duo premiered
PRAED Orchestra! – their most expanded line-up to date – featuring Nadah
el Shazly, Maurice Louca, Hans Koch, Martin Küchen, Christine Kazairan,
Ute Wassermann, Alan Bishop, Radwan Moumneh, Sam Shalabi, Michael
Zerang and Khaled Yassine. The collective were recorded live at
Calligraphy Square in Sharjah, UAE. The resulting PRAED Orchestra! album Live In Sharjah will be released on 9 November via Rabih Beaini's Morphine Records.
LA-based electronic wizard Amon Tobin teams up again with Dutch composer
and producer Thys (Noisia) for their cinematic ‘Ithaca’ EP. The fractal
five-track offering is an odyssey into the unknown, carefully
constructed, intricately layered and arranged with purity of intent.
Ithaca’ is an unnerving feast for the ears with a distinct curative
vibe. It makes for a wholly immersive and atmospheric experience,
delivered by two artists at the top of their creative game.
New from hibernating Emuser @DaveSeidel (aka Mystery Bear)
Dave Seidel - The Ophanim Cycles
. . . Each chord is built up from a different six-note hexany scale, all or
which are derived from a single structure called an eikosany, a
twenty-note microtonal scale. There are thirty hexanies embedded in
every eikosany. The hexanies are ordered here so that there is at least
one common tone from one scale to the next, for smooth modulation.
Each section of the piece is made from a series of five hexanies, and
each section picks up the sequence where the previous one leaves off.
Relapse Records presents 2R0I2P0, the brand new collaborative album from
BORIS and MERZBOW. The 10 track album showcases every bit of the
excitement and pulse-pounding rock and metal heard throughout the
inimitable, expansive BORIS catalog, as it meets the signature harsh
noise and soundscapes of the equally prolific MERZBOW.
An album that is at once familiar and unique for its time, melodic and
harsh in equal parts, 2R0I2P0 aims to find sonic harmony. After all,
2R0I2P0 translates to "Twenty Twenty R.I.P." "This year was a period of
trial for everyone in the world," BORIS comments. "This work becomes a
monument to the requiem of the previous era. From here, a new world
begins again."
The source material for CRACKED is constructed from the music on sixteen different 78rpm shellac records.
The 78s have been in my collection for over 25 years. They have been
utilised as atmospheric backings, looped and sampled on range of
releases, notably, An Unworld and the Nurse With Wound album The
Surveillance Lounge.
Andrew Liles
- is a prolific solo artist, producer, remixer and studio
engineer. He has worked with many leading lights in experimental and
outsider music and is renowned for his extensive contributions to the
recordings and live performances of Nurse With Wound and Current 93.
Recording since the mid 1980’s his work has been used in Theatre, Film,
Radio and T.V. He has appeared on well over 200 releases creating a
unique, eclectic and diverse back catalogue that crosses many genres and
styles.
"Finally and just in time for Christmas 2020 Hastings of Malawi release their third LP - the antithesis of Christmas albums.
In this bleak vinyl mid winter the sleigh bells have been replaced with
twelve handsaws, two motors and a dustbin, a duet between a walrus and
an autistic child on an aeroplane, a chorus of pigs and Tasmanian
devils, sounds from Japan, China, Africa, Italy, India and Hawaii,
digital voice synthesis, sound sculptures, randomly generated music,
geiger counters, free improvisation and a rocket engine.
As with their first two albums this record continues to explore themes of communication and communication breakdown.
Is communication possible?
What is the message?
What is sound?
What is on the surface of a record?
What is beneath the surface of a record?
Hastings of Malawi provide the answer to these questions in the form of a 38 minute poem called Axial Incidents.
Final Muzik presents the second collaboration between two well-known
Italian experimental/electronic music composers, Deison and Maurizio
Bianchi (M.B.). This is their second album together, after "Black
Panorama" CD (also on Final Muzik, 2015).
"White Landscape" has been recorded between 2015 and 2016; Deison did
the final mix of the album at his 1st Floor Studio in May 2017.
“After having spent an imaginary lobotomized hibernation in the darkest
bush, the constant search for bright oblivion led us to luminescent
scenarios, and the result was this illuminating four-handed work that
fulfills our desire for clever experimentation. The attentive listeners
will be truly enlightened.”
Pascal Comelade has been working for 3 years to achieve his brand new
album. Not only it features all of his musical obsessions and
trademarks, some long time partners and friends such as Richard Pinhas
and members of his former backing band Bel Canto Orquestra but for the
very time in 45 years, ladies and gentlemen there is “quite a long piano
solo” and a string quartet in the album.
"This record was originally made as a tour only cdr for my 2010
US/Canada tour. 100 copies was made. Designed by myself, while my then
new girlfriend Monique hand assembled and stamped the copies in her
sonic pieces second edition style. They looked great and almost all sold
on the 3 week tour that started in Chicago . . . .
Live recording of one of the concerts that this amazing duo played in Chile years ago.
Instrumental experimental doom / ambient, with abrasive atmosphere and epic metallic explosions.
A live performance at ICONE in Santiage, Chile, December 7, 2013.
Recorded by Sebastian Concha & Pacífico, mixed by Michel Leroy,
mastered by Aidan Baker. Artwork based on an image by Constanza Lagos
This edition was produced and finalized in a particular context, Mika Vainio having left us on 12.04.2017
This material is the last concert he has gave. It took place at Cave12 on 02.02.2017.
We needed time to listen to this archive again, which we did in situ in June 2020 with Cindy Van Acker.
After this listening, we felt invested in having to make this archive public.
In order to edit and work on this material, we asked Carl Michael von
Hausswolff to do the mixing. At our request, this recording was
organized in 4 movements. Stephen O’Malley kindly joined in the pre-edit
process that took place on August 24 2020 at EMS Studios, Stockholm.
Denis Blackham did the mastering.
This process was carried out in collaboration with Rikke Lundgreen
Following up from 2014's 'Bokeh', Home Normal welcomes back Wil Bolton.
'Cumulus Sketches’ is an album of fragile, drifting ambient structures
for daydreaming and cloud-watching. Pastoral analogue synthesizer
melodies and effects pedal textures are intertwined with rural and urban
environmental sounds recorded in South Korea, Japan, Hong Kong and Sri
Lanka.
Old, but still functioning computers are simply scrapped, made redundant
and without remorse left to corrosion and an existence without a task
and no perspective. That this doesn’t need to be so, and that even
computers with limited storage capacity can still take on a function in
society, is illustrated by Alexei Shulgin’s outdated 386, now serving as
a musician. Performing Classic Rock's Biggest Smash Hits! The
Clash! The Doors! The Sex Pistols! Hendrix! and more... gone digital,
gone to 8-bit computerized chip-music with a singing computer, with all
the charme available to a text-to-speech- programm.
Created by Russian artist Alexei Shulgin, 386 DX was “the world’s first cyberpunk band.” Known for its live performances on
city streets and in nightclubs, the performer is a dingy, singing PC
that runs Windows 3.1, equipped with a vintage sound card and loaded
with MIDI files of drums, guitar, and synth and accompanying lyrics.
The
ironic comment delivered by Shulgin and his singing computer is well
within the context of the performances by the 386 DX rockband, with
which he “toured” Europe in 1998 and performed on nearly 60 occasions.
This one-man-one-computer-show was based on a similar idea as his
current installation: Shulgin presented himself as a performer carrying a
keyboard, and by simply hitting a key elicited the text-to-speech
singing, accompanied by very simple music and a few Seventies-style
visual effects.Alexei Shulgin simply is the King of Cyberpop.
Comments
When it was released in the year 2000, In Poly Sons presented this album as follows: "Alice is to wonders what the Penicillium is to Roquefort. Wonders which punctuate the life of astonishment, small fears, obsessions or absurdities. Not a life in candy pink, where Manichaeism governs rules social life." This veritable “concept-album”, the work of Klimperei, a duo from Lyon (France) at the time, Françoise Lefebvre and Christophe Petchanatz, had long been sold out in its compact disc version, a very beautiful object set with a cover art created by Alfie Benge (well known for her record sleeves for Robert Wyatt).
20 years after its CD release, Alice Au Pays Des Merveilles is published in digital version, on April 1, 2020, a beautiful facetious date quite appropriate.
"Presque fini" was produced under the effects of quarantine and is a product of our times. For example, the opening piece, "dehors on ne se", roughly translates to "outside we do not". Melancholic strings swell and glisten amongst the floating crackles of noise. The remnants of folk guitar bring to mind simpler times. Though the subject matter is serious, the music is never cynical. In the face of social isolation, Christophe has produced an incredibly human work. We hope too that the compositions on this tape bring you the same joy and optimism that they've brought us.
All sounds made with the historic electronic piano Neo-Bechstein
Thanks to David Balzer and Ralf Meinz
Numerous articles and radio features on electronic music, especially for WDR Studio elektronische Musik Cologne. Lectures and teaching at University Paris VIII, Berlin UdK, London Goldsmiths University, Musikhochschule Basel, Music University Thessaloniki, a.o. Guest professor for artistic research/performance at Katarina Gurska Institute, Madrid, Spain. Reinhold Friedl studied mathematics in Stuttgart, Berlin and Marseille, Ph.D. "Philology of electroacoustic music - Iannis Xenakis electronic music as paradigm", Goldsmiths University London. He lives in Berlin and Vienna and tours worlwide.
David Fenech: Voice, Lyrics, Drum Processing, Electric Bass, Electric Guitar, Rhythmic Patterns, Hand Clapping, Electronic Rhythm, Percussion,
The compositional inspirations were equal parts modern horror soundtracks, the quiet intensity of Arvo Part, Gagaku's blasting wails and pointillistic percussion, Stockhausen's 70s drone phase, and our favorite aspects of free jazz. The piece took the form of loosely notated, workshopped guided improvisations within the confines of a set structure". . .
but this is 'armistice' on its own, uncut and triple the length released on its 25th anniversary.
*Dino refers to the name Rolandino, given to him by his fellow composers during his working life in Rome.
and to philosopher Gilles Deleuze (Difference and Repetition is the title of his thesis) on the contents. The 4 long pieces of this double concept album were developed over 2 years and each has a different style
and climate. Bold and kaleidoscopic, Difference and Repetition perfectly synthesizes the musical and literary obsessions of Palo Alto
on the Italian label Old Europa Cafe in 1990. The year 2020 is therefore an opportunity to celebrate the 30th anniversary of this first stone, the founder of a discography rich with 10 albums. The band is now composed of Jacques Barbéri (also a science fiction author), Laurent Pernice (ex-member of the French industrial band Nox) and Philippe Perreaudin (also coordinator of several compilations and reissues: Legendary Pink Dots, Un Département, Nino Ferrer
Revisited, Ptôse, Hardy Fox…).
Literature, and particularly science fiction, is a leitmotiv in the band's
work. Antoine Volodine, Thomas Pynchon, Philip K. Dick, Lewis Carroll
or J. G. Ballard have been invoked many times.
In recent years, Palo Alto has multiplied musical collaborations with,
among others, The Residents, Ptôse, Klimperei, Tuxedomoon...
From industrial music to inextricable electronic ramifications, by making a detour through improvisation, the musical universe of Palo Alto is multifaceted. Their new album is no exception to this rule…
At that time I was teaching Sound Art there. Before filmmaking, he studied music for 5 years. Especially of interest was his cooperation with France's-Marie Utti, the cello player. Film: Confidential.
More on Frans Zwartjes:
https://www.eyefilm.nl/en/film/frans-zwartjes-home-sweet-home
and
http://hollandsemeesters.info/posts/show/8990
Core members Yassin and Conca have variously collaborated with many musicians and experimented with different formations of PRAED over the years. In November 2018, the duo premiered PRAED Orchestra! – their most expanded line-up to date – featuring Nadah el Shazly, Maurice Louca, Hans Koch, Martin Küchen, Christine Kazairan, Ute Wassermann, Alan Bishop, Radwan Moumneh, Sam Shalabi, Michael Zerang and Khaled Yassine. The collective were recorded live at Calligraphy Square in Sharjah, UAE. The resulting PRAED Orchestra! album Live In Sharjah will be released on 9 November via Rabih Beaini's Morphine Records.
Each section of the piece is made from a series of five hexanies, and each section picks up the sequence where the previous one leaves off.
An album that is at once familiar and unique for its time, melodic and harsh in equal parts, 2R0I2P0 aims to find sonic harmony. After all, 2R0I2P0 translates to "Twenty Twenty R.I.P." "This year was a period of trial for everyone in the world," BORIS comments. "This work becomes a monument to the requiem of the previous era. From here, a new world begins again."
The 78s have been in my collection for over 25 years. They have been utilised as atmospheric backings, looped and sampled on range of releases, notably, An Unworld and the Nurse With Wound album The Surveillance Lounge.
In this bleak vinyl mid winter the sleigh bells have been replaced with twelve handsaws, two motors and a dustbin, a duet between a walrus and an autistic child on an aeroplane, a chorus of pigs and Tasmanian devils, sounds from Japan, China, Africa, Italy, India and Hawaii, digital voice synthesis, sound sculptures, randomly generated music, geiger counters, free improvisation and a rocket engine.
As with their first two albums this record continues to explore themes of communication and communication breakdown.
Is communication possible?
What is the message?
What is sound?
What is on the surface of a record?
What is beneath the surface of a record?
Hastings of Malawi provide the answer to these questions in the form of a 38 minute poem called Axial Incidents.
M.B.: electrolighting devices
"White Landscape" has been recorded between 2015 and 2016; Deison did the final mix of the album at his 1st Floor Studio in May 2017.
Filippo Corradin : Virus , Prophet 5, Bass Synth, Pads, Effects
Leah Buckareff - bass
This material is the last concert he has gave. It took place at Cave12 on 02.02.2017.
We needed time to listen to this archive again, which we did in situ in June 2020 with Cindy Van Acker.
After this listening, we felt invested in having to make this archive public.
This process was carried out in collaboration with Rikke Lundgreen
Performing Classic Rock's Biggest Smash Hits! The Clash! The Doors! The Sex Pistols! Hendrix! and more... gone digital, gone to 8-bit computerized chip-music with a singing computer, with all the charme available to a text-to-speech- programm.
Created by Russian artist Alexei Shulgin, 386 DX was “the world’s first cyberpunk band.” Known for its live performances on city streets and in nightclubs, the performer is a dingy, singing PC that runs Windows 3.1, equipped with a vintage sound card and loaded with MIDI files of drums, guitar, and synth and accompanying lyrics.
The ironic comment delivered by Shulgin and his singing computer is well within the context of the performances by the 386 DX rockband, with which he “toured” Europe in 1998 and performed on nearly 60 occasions. This one-man-one-computer-show was based on a similar idea as his current installation: Shulgin presented himself as a performer carrying a keyboard, and by simply hitting a key elicited the text-to-speech singing, accompanied by very simple music and a few Seventies-style visual effects.Alexei Shulgin simply is the King of Cyberpop.