Thursday, August 7, 2014

Dimitris ThomasGuide to the Greek Pop & Rock Music, 1965–1990,
yellow file with 32-pages zine and color poster, self-released, Hellas, Greece, 1996

A chronological list of Greek LPs, from folk ballads of the 1960s to radical new wave of the mid-1980s, with price indication and degree of scarcity for each record, the latter ranging from the worrying R1 “It does not mean that it can be easily found” to the daunting R5 “Almost impossible to be found”. My favorite of this list is, of course, Horis Peridereo's Horos Gia Mousiki, a resplendent new wave LP from 1985 (“Nearly rare, it is a success if it is found”). Original copies now fetch around $300, but it has been remastered and reissued in 2008 and the band reformed in 2014 as well.

Χωρις Περιδεραιο - Χορος Για Μουσικη, LP, Λαιστρυγόνα, ‎Greece, 1985
[Horis PeridereoHoros Gia Mousiki, LP, from the remastered, 2008 edition]

The pinnacle of Greek new wave. Should be on everyone’s iPod.

Wednesday, August 6, 2014

SolventRDJCS5​-​ep, 12” vinyl, Suction records, 2011 [BandCamp]

Last track, “Sandpaper”, is a vinyl exclusive and is hand-etched inside the grooves, not in the lead-out groove, as usual. The story behind the music is also worth checking out on the BandCamp blurb.

Tuesday, August 5, 2014

कलियुग

Alain DaniélouLe crépuscule du Kâlî-yuga (3:54)
Read by Catherine Michel. Unidentified music.
Broadcast on Radio Suisse Romande, Switzerland, 1985 [source]
Painting by Paul LafolleyKali Yuga, 1965, from artist’s website.

As descibed in the Vishnu Purânä, one of the 18 major Hindu religious texts, the Kâlî yuga or Dark Age, lasting from 1939 CE to 2442 CE, is the time of “the dissolution of the world, the decline of all things, and deterioration of mankind.” Read in the sound file are excerpts from the Vishnu Purânä, Book VI, Chapter 1, as translated in French by Alain Daniélou in his book La Fantaisie des Dieux et l’Aventure Humaine, éditions du Rocher, 1985 ; reissued as Le Destin du Monde d’après la Tradition Shivaïte, Albin Michel, 1992 [full English text of book VI, ch.1 here]. Here is the transcript of the sound file above:

Ce sont les plus bas instincts qui stimulent les hommes du Kali Yugä. Ils choisissent de préférence les idées fausses. Ils n’hésitent pas à persécuter les sages. L’envie les tourmente. La négligence, la maladie, la faim, la peur se répandent. Il y aura de graves sécheresses. Les différentes régions des pays s’opposent les unes aux autres.

Beaucoup périront. Le nombre des princes et des agriculteurs décline graduellement. Les classes ouvrières veulent s’attribuer le pouvoir royal et partager le savoir, les repas et les lits des anciens princes. La plupart des nouveaux chefs est d’origine ouvrière.

On tuera les fœtus dans le ventre de leur mère et on assassinera les héros. Les Shudrä prétendront se comporter comme des Brahmanes et les prêtres comme des ouvriers.

La stabilité et l’équilibre des quatre classes de la société et des quatre âges de la vie disparaîtront partout. La terre produira beaucoup dans certains lieux et trop peu dans d’autres.

De la nourriture déjà cuite sera mise en vente. Les livres sacrés seront vendus aux coins des rues. Le dieu des nuages sera incohérent dans la distribution des pluies.

La dégradation des vertus et la censure des puritains hypocrites et moralisateurs caractérisent la période de la fin du Kali. Il n’y aura plus de rois. La richesse et les moissons diminueront. Des groupes de bandits s’organiseront dans les villes et les campagnes. L’eau manquera et les fruits seront peu abondants.

Beaucoup d’enfants naîtront dont l’espérance de vie ne dépasse pas seize ans. Des aventuriers prendront l’apparence de moines avec la tête rasée et des vêtements orangés, des chapelets autour du cou. On volera des stocks de blé. Les voleurs voleront les voleurs. Les gens deviendront inactifs, léthargiques et sans but. Les maladies, les rats et les substances nocives les tourmenteront.

Des gens affligés par la faim et la peur se réfugieront dans des « abris souterrains ».

Les hommes ne chercheront qu’à gagner de l’argent, les plus riches détiendront le pouvoir. Les gens sans ressources seront leurs esclaves.

Les pauvres se feront une gloire de leur pauvreté et les femmes de la beauté de leurs cheveux.

Dans le Kali Yugä les hommes sont sans vertus, sans pureté, sans pudeur, et connaîtront de grands malheurs.

Monday, August 4, 2014


Alain Daniélou – demonstration of the Semantic Daniélou keyboard
(excerpts from official website and SoundCloud page)

The Sémantic is a just intonation keyboard where the octave is divided into 53 notes. Conceived by Indian classical music teacher Alain Daniélou to perform microtonal glissandos of Indian raga music, it is based on the theories detailed in his book “La Sémantique Musicale”, 1967. Daniélou first envisaged the instrument with Maurice Martenot in the 1930s, but only build the first fully electronic prototype in the 1970s. Photos above show the last version, build around 2000, by designer Michel Geiss, Christian Braut (programming) and Jean-Claude Dubois (electronics).

Igor WakhevitchAhata Anahata (excerpt), 2006

Composed by Wakhevitch in honour of Alain Daniélou’s 100th birthday celebrations in 2007. Played on the Sémantic Daniélou microtonal keyboard.

Sunday, August 3, 2014

William DavenportUnsound Redux USA, trailer

All our heroes from the 1980s appear here apparently: Daniel Plunkett, Robin James, Donald Campau, Debbie Jaffe, Kim Cascone, the Ladd-Friths, Negativland, Randy Greif, Big City Orch., Al Margolis, Hal McGee, etc. Out in January 2015.

Thanks Joseph for the tip.

Friday, August 1, 2014

Gunvor NelsonMy Name is Oona, 1969

Interesting soundtrack inspired by Patrick Gleeson (of San Francisco Tape Music Center fame) and Steve Reich (“It’s Gonna Rain”, 1965).

Thursday, July 31, 2014
Teletopa ‎–  Tokyo 1972, 3xLP and 2xCD, Splitrec, Australia, July 2014
Finally (see previous post)

Teletopa ‎– Tokyo 1972, 3xLP and 2xCD, Splitrec, Australia, July 2014

Finally (see previous post)

Wednesday, July 30, 2014

Issue Project Room announces new record imprint Distributed Objects

The famous Brooklyn venue for experimental music performances and artist residencies Issue Project Room [also on Tumblr] plan to launch their first couple of releases in October 2014 with a pair of 2xLPs by Sabisha Friedberg and  Sergei Tcherepnin. For this, they started a crowdfunding campaign on Kickstarter with various goodies in addition to the LPs, like the concert posters above.

Tuesday, July 29, 2014

Carol ParkinsonTechnology is a Medium, 1984

Via Continuo.docs YouTube channel.

Monday, July 28, 2014

Continuumix #16, July 2014 (70:47)
Picture: Michelangelo Pistoletto and Maria Poppi performing Le Trombe del Giudizio (The Trumpets of Justice), Rome, 1968.

  • (00:00) Peter J WoodsA Piece of Monologue [Samuel Beckett], from Audio Renditions of Beckett’s Dramas, USA, 2011, [BandCamp]
  • (00:35) Elizabeth VeldonFive Books by Agathia Christie, from Two Evocations of Early Sound Poetry, UK, 2014 [BandCamp]
  • (10:15) Karen GwyerLay Claim to My Grub, from the New Roof 12”ep, published by No Pain In Pop, UK, 2014 [SoundCloud]
  • (20:30) Edgardo RudnitzkyNocturno para 7 Monocordios, Argentina, Sonic Arts Awards, 2013 [Vimeo]
  • (22:00) Aaron MartinPalm Trees on the Courthouse Steps, from Dead Teeth cassette, published by Cabin Floor Esoterica, USA, 2009 [BandCamp]
  • (26:30) Bruce McClure – excerpt from Vouchsafe Me More Soundpicture (Fain Make Glories), LP published by Olde English Spelling Bee, USA, 2009
  • (33:30) OddgradCarrie Anne, from the Treatment cassette, published by Go Finger Records, Spain, 2014 [BandCamp]
  • (36:34) Tatiana Mercedes (aka märƒmellow) – Fat-tub, USA, 2013 [YouTube]
  • (36:36) Glochids - Dream guitar for synth, from Tape Creosote, cassette, USA, 2013 [BandCamp]
  • (37:38) Pierre Mariétan - Voix Captives (excerpt), book+CD published by Musée Cantonal des Beaux Arts du Valais, Switzerland, 2004
  • (38:30) Marie DavidsonPrélude, from Perte d’identité, LP, Weyrd Son Records, Belgium, 2014 [BandCamp]
  • (44:50) BABA-OEMF w/ Jaap BlonkDirges, from Six Sound Poems Of Hugo Ball, CD, Kontrans, Netherlands, 2003 [SoundCloud]
  • (45:50) Jean-Luc GergonneRi Do, video soundtrack, France, 2014 [Vimeo]
  • (49:40) EtherDresden (excerpt), from Music for Air Raids, USA, 2009 [BandCamp]
  • (55:52) Paul RubensteinFlat Bars, from Solo Trios, CD, Spectropol Records, USA, 2011 [BandCamp]
  • (56:06) Liu Wai TongFrom Tak Yu Tea House to Lai Tsuen Sauna, We Look Upon for Lord’s Mercy, audiowalk published by Neon Signs, Hong Kong, 2014 [SoundCloud]
  • (56:40) Andrea BorghiCalibrated Notify, from Musica per Nastro, CD, Spectropol Records, USA, 2012 [BandCamp]
  • (60:29) DJ Scotch EggScotch Moondog, from the Scotchhausen LP, released by AD AAD AT, UK, 2007 [from label’s website]
  • (62:44) DJ Delphine BlueShoking Blue: The Oracle of Delphine (excerpt), podcast on Clocktower Radio, USA, 2014 (music track by Lemonjelly)
  • (68:43) Unpleasant NostalgiaWarm Night in Osaka, from the 2D Memories cassette, USA, 2014 [BandCamp]
Friday, July 25, 2014

Reuben SonAsleep at the Drawing Board, excerpt from side A, 7inch record on clear vinyl, released by Private Chronology, Boston, MA, June 2014

This disc is part of three new releases published in June 2014 on Private Chronology, an independent label from Boston, MA, run by guitarist and composer Reuben Son. A double time capsule this one, as, on the one hand, the music consists of vintage, analog synth sounds exclusively and, on the other hand, these sessions were recorded in 2011, pressed on vinyl in 2012, but only released in 2014. The rather abstract A-side is a succession of semi-aleatoric flurries of chunky bleep sounds in the form of three short electronic studies. Sounds are briefly altered by filters, pitch modification and reverb but stay in the same high pitched range throughout. The B-side is a different thing altogether, with its melodious, slow motion synth loops playing out of phase of each other in each speaker. In the final section, electronically-produced or sampled wordless, female vocalizations grant the music a Hauntology vibe slowly fading away till the end of the disc. The utilitarian design intentionally reinforces the impression of a document from a by-gone era, not unlike some of Bruce Licher’s letterpress designs for Independent Project Records (Savage Republic).

Caroline Park & Asha TamirisaSOTO, cassette released by Private Chronology, Boston, MA, June 2014

In SOTO, the duo of US electronic sound artists Caroline Park and Asha Tamirisa use their laptops to instill elusive electronic loops and washed out, long-held synthesizer notes in a remarkably transitional-state-music that never fully materialize into something as tangible as a Duo, a Composition nor an Improvisation. Rather, the music inhabits an intermediate state akin to the transition from liquid to gaseous, from semi-conscious to sleepy, from night to dawn, etc. Also the deliberate use of psychoacoustic sounds like bells, waves or water – even if buried deep into the mix – add up to the hypnagogic effect the music has on the listener, especially on side A, from which the sound clip above is taken. At 10 minutes per side, the cassette is much too short to really induce the listener into a modified state of consciousness, and it would be interesting to hear this kind of music on the longer run. These two slabs of highly elaborate ambient music were recorded live at Studio SOTO, Boston’s key venue for experimental music and multi-media art – that is, until they closed doors in 2013.

Patrick EmmTheta States, cassette released by Private Chronology, Boston, MA, June 2014

This 25mn cassette presents five tracks of disquieting electronic music coming from a distant past by Boston musician Patrick Emm. On side A, unsettling utterings and undecipherable vocal fragments emerge amid a background of heavily treated electronic sounds, often flawed by speed instability or marred by extraneous noises. Vocals are less present on side B, but the “wow and flutter” effect of tape recorders and/or malfunctioning playback equipment are still used as compositional tools. By carefully eschewing the sheen of contemporary laptop music and using sonic memes from the early days of Musique Concrète, I suppose Emm aims at re-mythologizing electronic music, which is a welcome idea. But perhaps the effect would have been more efficient on CD or in live performance, a strategy that works well in Jan Jelinek and Andrew Pekler’s own Ursula Bogner project, for instance.