Podcast appearances and mentions of allen ravenstine

Escucharemos esta semana trabajos muy dispares entre sí. De los sonidos amables de Benedikt Schiefer, pasando por la artista islandesa Gyða Valtýsdóttir, la peruana Ale Hop, el teclista estadounidense Allen Ravenstine o el Dj y productor Ibrahim Alfa Jr.Escuchar audio

Escucharemos esta semana trabajos muy dispares entre sí. De los sonidos amables de Benedikt Schiefer, pasando por la artista islandesa Gyða Valtýsdóttir, la peruana Ale Hop, el teclista estadounidense Allen Ravenstine o el Dj y productor Ibrahim Alfa Jr.Escuchar audio

Esta semana de otoño, nos envolvemos en sonidos intensos, recién llegados a nuestra Atmósfera. Escucharemos lo nuevo de Benedikt Schiefer, Songs for a Tired City, Allen Ravenstine, Ale Hop, Gyða Valtýsdóttir, Alpaca Ensemble & Eirik Hegdal With Thea Ellingsen Grant, Ibrahim Alfa Jnr o Cooly G Escuchar audio

Episode 78 Strange Synths Little Heard Sounds from Unique Synthesizers Playlist David Behrman, “Pools Of Phase Locked Loops,” from My Dear Siegfried (2005 XI Records). Synthesizers (homemade), David Behrman, Katharine Morton Austin. Recorded live at Radio Bremen in May 1972 and commissioned by Hans Otte. At a time when commercial models of analog synths were widely available, Behrman and other musicians such as Gordon Mumma and David Tudor insisted on creating purpose-built instruments using the same principles. Behrman explains, “The homemade synthesizers had 32 voltage-controlled triangle-wave generators built around a chip utilizing a circuit design called the Phase Locked Loop. The chip made smooth glides possible from one pitch to another. The homemade synthesizers also had voltage-controlled amplifiers, rows of small knobs and frequency counters with the aid of which the performers could retune individual oscillators during a performance.” 14:00 John Ridges, “Fugue In G” (Bach) from Computer Controlled Synthesizer Performances (1977 Tesseract Records). This work was made using a computer-controlled music synthesizer which its makers dubbed Mesmerelda. It was comprised on 200 integrated circuits that could create 96 different pitches assigned to six separate channels. Only one waveform was used, a square wave, and there was no envelope control. Hence, the simple organ-like tone of the piece. 4:49 John Ridges, “Ruffles” (Ridges) from Computer Controlled Synthesizer Performances (1977 Tesseract Records). From the same album comes “Ruffles” performed by composer John Ridges. This track featured a slightly more advanced computer music synthesizer they called the AD8. It featured up to eight synthesis boards each one relating to a single channel. So, eight pitches could be played at a time and there was filtering, waveform generation other than square waves, and simple envelope generation to provide a slightly more advanced sound. As Ridges wrote in the liner notes, with pride, “these pieces are generally free of the bizarre noises usually found on electronic synthesizer albums.” The pieces were recorded in real time without overdubs. 2:36 Patrick Gleeson, “Star Wars Theme (Luke's Theme)” (Williams). (1977 Mercury). Recorded and mixed at Different Fur, San Francisco, July 1977. The piece showcases various beds, rhythms, and sounds made using the E-mu modular synthesizer, also known as an Eµ synthesizer (it's original name). "Selections from the film performed on the world's most advanced synthesizer." Drums, Billy Cobham, Harvey Mason, James Levi, Ronnie Beck; Lyricon, Lenny Picket; Vocals, Sarah Baker; keyboards, performer (Breath Controller), engineered, produced, arranged, and conducted by Patrick Gleeson. 5:36 Bennie Maupin, “Crystals” from Moonscapes (1978 Mercury). Eµ synthesizer (E-mu Modular Synthesizer) programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned an Eµ modular synthesizer (see the earlier Star Wars album which also featured this same synth.) Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, Eµ Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the Eµ synthesizer and other instruments. 1:19 Sylvester, “You Make Me Feel (Mighty Real)” from Step II (1978 Fantasy). One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizers. String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects , Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 6:34 Pere Ubu, “I Will Wait” from Dub Housing (1978 Chrysalis). This second album from this Ohio group always figured high on my playlist of favorites. I was mostly fascinated by the synthesizer fills and hijinks by Allen Ravenstine that punctuated much of the group's music with the quirkiest of sounds, all blended and mixed to provide many weird hooks and twists. This is another example of the EML, Electro-comp duphonic modular synthesizer although almost used in a polar opposite way than Sylvester. This is a unique sound from the time. Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Ravenstine is still active and an electronic musician although he has left the EML for other synthesizer frontiers. He remains very much the experimental improviser. 1:45 Pere Ubu, “Navvy” from Dub Housing (1978 Chrysalis). Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Features sounds of the EML Electro-comp modular synthesizer by Allen Ravenstine. 2:40 Pere Ubu, “On the Surface” from Dub Housing (1978 Chrysalis). Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Features sounds of the EML Electro-comp modular synthesizer by Allen Ravenstine. 2:37 Pascal Languirand, “O Nos Omnes” from De Harmonia Universalia (1980 Polydor). I am featuring a track that uses, among other instruments, the Farfisa Synthorchestra, the famous Italian's company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), and mono synth voices. It was a hybrid organ and synthesizer and used much by Klaus Schulze and other German electronic musicians for the short time that it was available from 1975 to 1978. Nine slider controls were positioned next to a 3-octave keyboard and provided some “chaotic” control episodes for this much beloved and rare keyboard. 7:16 Moebius, “Clone Zone” from Moebius (1979 Plastic Poison). Yes, a progressive rock group that utilized the modular synthesizers developed by Serge Tcherepnin, Rich Gold, and Randy Cohen at CalArts in late 1972. By the mid-1970a, Tcherepnin left CalArts and began to manufacture his instruments in Hollywood. Serge modules were designed to bring many elements of the circuits controllable by the performer, patching them in unusual ways beyond what was considered normal for a given module. The model used on this album probably had a 16-stage sequencer introduced by the company, and I think you can hear such patterns in this song. Listen for the bubbling, sequenced sounds that are contrasted to the monophonic solos of the Minimoog and patch sounds of the ARP Odyssey. I think the track opens with the Serge pattern. Drums, Evan Kaplan; Minimoog synthesizer, Bruce Courtois; Roland Sh3a, AP 2600 synthesizers, Steve Roach; Serge modular, Minimoog synthesizer, vocals, written by, Bryce Robbley; Serge modular synthesizer, Doug Lynner. 4:55 Moebius, “Song For Lya,” from Moebius (1979 Plastic Poison). Serge, Oberheim, and Minimoog synthesizers, vocals, written by, Bryce Robbley; Serge, Oberheim synthesizers, written by, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 3:15 Henry Kucharzyk, “Play Dot Sam” from Walk The Line - Three New Works By Henry Kucharzyk (1985 Artifact Music). This work is performed at the Samson Box at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Palo Alto, California. This track is an escapee from the 1970s but nonetheless fills a void in that period when commercial synthesizers were moving to digital technology and were quite expensive. The Samson Box was a computer-based digital synthesizer created in 1977 by Peter Samson, who worked at the university. Samson stands for the “Systems Concepts Digital Synthesizer. It was a one-off special-purpose dedicated audio computer designed for use by student composers at Center for Computer Research in Musical and Acoustics (CCRMA) at Stanford University. 3:06 Salvatore Martirano, “The SalMar: Part One” from The SalMar Construction (2014 Sub Rosa). Another escapee from the 1970s was this performance at IRCAM in Paris in 1983. Salvatore Martirano, an American composer, invented the one-of-a-kind Sal-Mar Construction designed for real-time performance of electronic music. It was created from 1969 to 1972 at the University of Illinois. The analog synthesizer looked like a large drawing table with an array of 291 touch-sensitive connections to enable the sound generating circuits. Behind it all were some computer circuits salvaged from the Illiac II computer music system and they generated random sequences with which the performer could interact while managing four parallel processes governing the 16 oscillators, applying pitch, timbre, amplitude and envelope parameters to the sound. Martirano toured the world with the performing/composing music machine and described his live performances in the following manner: “The composer, in performance, interacts with the machine as it composes, creating spontaneously four melodic lines which move throughout the concert space via a network of 24 overhead speakers.” This performance was by Martirano while in Paris at IRCAM. 18:59 Herbie Hancock, “Rough” from Future Shock (1983 Columbia). Hancock was well known as an experimenter of new synthesizer technology. During the early stages of the home computer revolution, Hancock used an AlphaSyntauri synthesizer as part of his ensemble of instruments. The AlphaSyntauri was an add-in synth for the Apple II computer, with its own sound-generating circuit board. The company was around from about 1980 to 1985. Its claim to fame what that it was much more affordable than the digital synthesizers made by New England Digital and Fairlight, each of which cost in the $30,000 to $50,000 range. The AlphaSyntauri was $1500. At this price you got 16-voice polyphony, 16 digital oscillators, and envelope generator, keyboard, and a sequencer capable of storing up to 7000 notes. It's affordable sequencing was a major attraction. This was before the Apple Macintosh was introduced, and with that the AlphaSyntauri was made immediately obsolete. But not before Hancock was able to work it into some of his electronic jazz tracks. If you listen carefully you can pick-out the sounds of the AlphaSyntauri because of all of the other synths and instruments on this track. Backing Vocals, Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling; Bass, Bill Laswell; Drums, Sly Dunbar; Lead Vocals, Lamar Wright; Fairlight CMI Synthesizer, AlphaSyntauri Synthesizer, Emulator Synthesizer, Herbie Hancock; Prophet-5 Synthesizer, Michael Beinhorn; Turntables, Voice, Grandmixer D.ST. 6:55 Opening background music: P.F.M. (Premiata Forneria Marconi), “Storia In "LA"” from Jet Lag (1977 Asylum Records). Italian progressive rock band founded in 1970. Album recorded at Kendun Recorders, Burbank, California, January, 1977 and Scorpio Sound Studio, London, February, 1977. Mixed at Scorpio Sound Studio, February 1977. Mastered at RCA Studio, London. Bass, Moog B12 Synthesizer, Patrick Djivas; Drums, Percussion, Franz Di Cioccio; Electric Piano, Organ, Moog Synthesizer, Flavio Premoli. 6:28 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

 The first episode of the new year features new music from Kuzu (Dave Rempis, Tashi Dorji, Tyler Damon), the Cheater Slicks' Dana Hatch, Sarah Hennies & Andy Meyerson, Allen Ravenstine and much more...including a critical reassessment of the late Leonard Rossiter's television career. OK, not so much a critical reassessment as a gratuitous name-drop. I'm not being paid to talk.

In this episode, of Lisson ON AIR Art & Language (Michael Baldwin and Mel Ramsden) talk with Lisson Gallery’s Hana Noorali and Ossian Ward about its 40-year collaboration with the Red Krayola, a proto-punk band founded in Houston by Mayo Thompson. They discuss the largely improvised performances, the themes that went into these recordings – covering everything from conceptual art and activism to politics and philosophical thought – as well as how the first songs were written in residency at Robert Rauschenberg’s studio on Captiva Island, Florida, but only after Michael was detained by the CIA for carrying sensitive communist propaganda. Combining text from these tracts, as well as from their Index 01, exhibited at Documenta 5 in Kassel in 1972, Art & Language provided the lyrics that were sung or chanted by, among others, Michael Baldwin, Ian Burn, Kathryn Bigelow, Charles Harrison, Pauline Harrison, Sandra Harrison, Christine Kozlov, Lynn Lemaster, Philip Pilkington, Mel Ramsden and Mayo Thompson. Having released many albums with Red Krayola since 1976, Art & Language continue to develop this extension of their practice in advance of a performance in New York this September. Track List: The Red Krayola with Art & Language, Gross and Conspicuous Error #8, 1976 Art & Language, Mayo Thompson, Jesse Chamberlain Source: https://www.youtube.com/watch?v=gSJ7XwawZOc The Red Crayola with Art & Language, Keep All Your Friends from Kangaroo?, 1981 Art & Language, Allen Ravenstine, Ben Annesley, Gina Birch, Lora Logic, Mayo Thompson, Epic Soundtracks Source: https://www.youtube.com/watch?v=c_Ga7COGUn0 The Red Crayola with Art & Language, Portrait of V.I Lenin in the Style of Jackson Pollock, pt.1&2 from Kangaroo?, 1981 Art & Language, Allen Ravenstine, Ben Annesley, Gina Birch, Lora Logic, Mayo Thompson, Epic Soundtracks Source: https://www.youtube.com/watch?v=PzlW3q1g9gY The Red Crayola with Art & Language, Sighs Trapped by Liars, from Sighs Trapped by Liars, 2007 Art & Language, Elisa Randazzo, Sandy Yang-singers, Tom Watson, Mayo Thompson, Jim O'Rourke, Noel Kupersmith, John McEntire-drums Source: https://www.youtube.com/watch?v=8JrbXylij9k The Red Krayola with Art & Language from Gross & Conspicuous Errors, 1976 Art & Language, Kathryn Bigelow, Mayo Thompson, Jesse Chamberlain Source: https://www.youtube.com/watch?v=v6cnevh5bPc The Red Krayola with Art & Language from Gross & Conspicuous Errors, 1976 Art & Language, Kathryn Bigelow, Mayo Thompson, Jesse Chamberlain Source: https://www.youtube.com/watch?v=nwT892J7STs Art & Language, Postscript To SDS' Infiltration, Music-Language: Corrected Slogans, 176 Art & Language, Jesse Chamberlain, Mayo Thompson, Colin Bateman, Thomas Duffy, Wieslaw Woszczyk, Sandra Harrison, Pauline Harrison, and Lynn Lemaster. Source: https://www.youtube.com/watch?v=dH0_WE_kkp0 The Red Krayola with Art & Language from Gross & Conspicuous Errors, 1976 Art & Language, Mayo Thompson, Jesse Chamberlain Source: https://www.youtube.com/watch?v=nwT892J7STs Lisson...ON AIR is written and presented by Hana Noorali

a cura di Alessandro Achilli. Musiche di Allen Ravenstine, Mônica Vasconcelos, Elina Duni & Rob Luft, Günter Baby Sommer, Would-Be-Goods, Hunky Dory

a cura di Alessandro Achilli. Musiche di Allen Ravenstine, Mônica Vasconcelos, Elina Duni & Rob Luft, Günter Baby Sommer, Would-Be-Goods, Hunky Dory (prima parte)

a cura di Alessandro Achilli. Musiche di Allen Ravenstine, Mônica Vasconcelos, Elina Duni & Rob Luft, Günter Baby Sommer, Would-Be-Goods, Hunky Dory (prima parte)

In the early 90s, Allen Ravenstine quit music. Just like that, to hear him tell it. The founding keyboardist for pioneering art-punk legends Pere Ubu was finished with the industry, opting to fly gliders and ultimately work his way up to commercial airline pilot. 2014’s modular synthesizer documentary I Dream of Wires changed things, however. A jam session with his Ubu replaement Robert Wheeler found him fiddling with synthesizers yet again.The music switch flipped on just as easily it had turned off, more than a decade prior. Waiting for Bomb finds is the result of hours of experimentation, distilled into 18 tracks that capture the energy of those early days. “I lose myself [making music],” he says as we sit down for an interview in Manhattan. “It’s a very peaceful place to be. I’m living in the moment, and that’s a rare feeling, to be untroubled by the past or future”

a cura di Alessandro Achilli. Musiche di Jon Hiseman (& Colosseum), Fred Chalenor (& Caveman Shoestore), Louis Armstrong (& Hot 5), Le Forbici di Manitù, Allen Ravenstine, Massimo De Mattia SuonoMadre, Globe Unity Orchestra, Manitù Rossi

a cura di Alessandro Achilli. Musiche di Jon Hiseman (& Colosseum), Fred Chalenor (& Caveman Shoestore), Louis Armstrong (& Hot 5), Le Forbici di Manitù, Allen Ravenstine, Massimo De Mattia SuonoMadre, Globe Unity Orchestra, Manitù Rossi (seconda parte)

a cura di Alessandro Achilli. Musiche di Jon Hiseman (& Colosseum), Fred Chalenor (& Caveman Shoestore), Louis Armstrong (& Hot 5), Le Forbici di Manitù, Allen Ravenstine, Massimo De Mattia SuonoMadre, Globe Unity Orchestra, Manitù Rossi (seconda parte)

Some Voices (00:00) Waudang 1 (00:26) “Howdy Doody” Theme (07:17) “Charlie Brown” Theme (07:45) “Vertigo” / “Psycho” Theme Medley (09:11) Fucshia (13:06) Triologue (17:28) Duologue (19:05) Solologue (19:49) Belem (20:36) Painted Desert (36:00) Live at the Metz’ Arsenal Part 2 (39:29) Quiet Money (46:26) The introductory chaos comes from R. Stevie Moore's second album, Delicate Tension. Recorded in 1978, but re-released at least twice and peppered with extra tracks over the decades. The first proper track, at about 00:25, is sacred flute music from New Guinea, recorded by Ragnar Johnson and assisted by Jessica Mayer. Wonderful folks, I'm sure. Robert Wyatt and his wife Alfreda Benge had some clout in getting these recordings released on Rounder in 1999. Digital mastering was done in July, 2015 and the revamped version of these recordings -- Sacred Flute Music from New Guinea-- will be out in mid-April on the Ideologic Organ label. Switching up rather radically, the following three tracks are from guitarist Gary Lucas, who has played with such wide-ranging artists as Captain Beefheart, Peter Hammill, and Jeff Buckley, as well as amassing an impressive body of solo work. These oddball takes on movie themes are from Lucas's album Cinefantastique. Next comes the track "Fuchsia" from the album Amaranth, by the trio who goes by the name Icepick -- Nate Wooley, Chris Corsano, and Ingebrigt Haker-Flaten. Wooley plays trumpet, Corsano is on drums, and Haker-Flaten plays double-bass. Monofonous, 2016. The following three tracks also feature Nate Wooley, as well as Zeena Parkins and Vera Westera. The music and texts on this album are inspired by Charles Baudelaire and are the brainchild of composer Bojan Vuletic, who gave the trio of musicians ideas to work with and then reworked their playing into the final product. Partly composed, partly improvised. See here for more details regarding this fascinating record, fugitive beauté. The next two tracks are performances by the MMM Quartet - Fred Frith, Joelle Leandre, Alvin Curran and Urs Leimgruber, on guitar, double bass, piano, and sax, respectively. The first MMM track is titled "Belem" and is from the album Oakland/Lisboa. The second track, "Part 2" is the tail end of a concert given by the quartet from the album Live at Metz Arena. These tracks are separated by an intermission: "Painted Desert" is from the album The Pharaoh's Bee by ex-Pere Ubu member Allen Ravenstine. Ravenstine was the Ubu member responsible for upping the chaos ante by adding analog synthesizer noise to the proceedings. Quite unlike his contributions to Ubu, this album is full of gentle, meditative sounds, albeit not without a certain edge. More info here. Finally, "Quiet Money" by The Remote Viewers, from their latest album, November Sky. More info on The RVs here. I hope you enjoy this podcast as much as I enjoyed compiling it!