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 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.

Thursday, July 24, 2014

Items from the Banff Centre Library and Archives artists’ books collection in Banff, Alberta, Canada, as displayed on a dedicated display case and a superb Tumblr page.

Wednesday, July 23, 2014

David RosenboomBiodeedback and the Arts: Results of Early Experiments, published by the Aesthetic Research Centre, Canada, 1976

Photos of early biofeedback music experiments strangely look like ectoplasm photographs taken during some 19th century séance or other summoning of spirit presences.

Tuesday, July 22, 2014

David RosenboomBiodeedback and the Arts: Results of Early Experiments, published by the Aesthetic Research Centre, Vancouver, B.C., Canada, 1976

Diagrams from the first book on biofeedback music.
Cover designed by Jacqueline Humbert.

Monday, July 21, 2014

BIOMETactus Tempus (7:00 excerpt), composed in 1969 by Frank McCarty,
live on KPFA, Berkeley, CA, 1973 [source]

Allen Strange, EMS Synthi A
Pat Strange, EMS Synthi A
Frank McCarty, EMS Synthi A
Boots McCarty, EMS Synthi A
Patrick Clancy, EMS Synthi A
Steve Ruppenthal, EMS Synthi A

BIOME was a US live electronic music collective founded by Allen Strange in California in 1967. Strange studied with Harry Partch, Kenneth Gaburo, Pauline Oliveros and John Chowning. BIOME toured in the US and Europe between 1970 and 1974, occasionally accompanying screenings of Steve Whealton’s experimental films. In 1976, Strange founded another group, the Electric Weasel Ensemble in conjunction with Donald Buchla, as the band only played Buchla synthesizers.

Friday, July 18, 2014

Bruce BaillieMass for the Dakota Sioux (excerpt from a 24mn film), San Francisco, 1964 [info]

Thursday, July 17, 2014
Kishino Yuichi aka La Veuve Moustachue, flyer, 2004

Kishino Yuichi aka La Veuve Moustachue, flyer, 2004

Scarlatti Goes Electro – Third Album [三枚目のアルバムを試聴],
LP published by Out One Disc, Tokyo, Japan, May 2014

There can’t be a better time than hot Summer days to indulge into a Jean-Jacques Perrey revival by the French duo of Antoine Souchav and Michel Bananes Jr, from Bordeaux, aka Scarlatti Goes Electro. Based on actual keyboard sonatas by Italian composer Domenico Scarlatti (1685–1757), the duo’s 3rd album collects incredible interpretations of the Maestro’s music for electronic instruments and harpsichord, helped by devilish arrangements from Japanese producer Kishino Yuichi, aka The Mustached Widow, also Out One Disc label owner. Expect highly intoxicating doses of Moog Little Phatty, Korg Mini 700, Clavinet Hohner D6 as well as clarinet and theremin – neat solo on the super-groovy track #9 Sonata K. 456, allegro.

Wednesday, July 16, 2014

Baudouin OosterlynckVariations du Silence (1990-1991), book of 32 graphic scores, limited to 35 copies, published by Galerie Camille von Scholz, Brussels, Belgium, 1992 [source]

« Ces 32 partitions-dessins sont le fruit de dix trajets en Europe (15 000 km) en train, à pied et à bicyclette à la recherche de sites et de lieux où il y a encore du silence… de beaux silences. Non pas un silence scientifique ou mystique, ni encore un silence éternel, mais un moment musical où le silence mis à nu par ses oreilles, m’aime ». B.O.

Baudouin OosterlynckSur le Silence, exhibition @ Air-City Sonic#10, Mons, Belgum 2012.