Podcast appearances and mentions of David Toop

For this episode we're joined in our Hammersmith lair by the highly respected Chris Bohn, known better these days by his alias Biba Kopf (cue a nod to Berlin Alexanderplatz author Alfred Döblin...) The veteran NME contributor and sometime editor-in-chief of The Wire talks about his long career as a Europhile connoisseur of extreme and out-there music. We start by asking our guest about his mother's experience as a teenage refugee fleeing her native Silesia after the advance of the Red Army in 1945 – and her subsequent settling in the English Midlands. We learn about Chris' journalistic training on the Sutton Coldfield News and his subsequent travels around Europe, where he reconnected with relatives in West (and East) Germany. Chris reminisces about his first London job as a press officer for Polydor Records, for whom he chaperoned Siouxsie & the Banshees to tapings of Top of the Pops. He then talks us through his writing career from Melody Maker and NME to decades-long association with The Wire. Among the articles mentioned are his 1979 live review of Joy Division, his groundbreaking 1981 on-the-road piece "Trans-Europe Express", and his interviews with Nina Hagen (1979) and Einstürzende Neubauten (1983). Discussion of The Wire leads us into clips from an audio interview with Wire icon Ornette Coleman … by Wire mainstay David Toop. We conclude the episode by paying heartfelt tribute to two Californian geniuses who left us this week: Family Stone funk pioneer Sly Stone and the Beach Boys' "pocket symphonist" Brian Wilson. We shall not see – or hear – their like again. Many thanks to special guest Chris Bohn a.k.a. Biba Kopf. Visit the Wire's website at thewire.co.uk to subscribe digitally and in print.  Pieces discussed: Nina Hagen: West Is Best, Einstürzende Neubauten: Let's Hear It For The Untergang Show, Ornette Coleman (1995), Sly & The Family Stone: Sly Buries Underground And Has Fun!, Not Only Sly, But Sometimes Just Plain Damn Evasive, Sly Stone's Higher Power, Some Producers' Hints From Beach Boy Brian, Brian Wilson, Brian Wilson: Beach Boy, Pop Visionary, Wounded Soul, The Devil and Jerry Lee Lewis and  Group Home: Supa Group.

Playlist de Philippe Poirier pour webSYNradio avec trois de ses compositions entremêlés des sons de David Garland, Christopher Hobbs, Carlos Gardel, Philip Glass, Elvis Presley, Isidore Isou, Eric Satie, kristin Oppenheim, Sonic Youth, David Toop, Morton Feldman, Brooks Williams, Dariush Dolat-Shahi, Marcel Broodthaers. Les morceaux choisis (pas tous) suivent un certain sentiment de la voix. Celle-ci s'exprime ici parfois de façon affirmée, parfois à peine incarnée, chantant ou parlant, d'un lieu où tous les mots ont été dits. Ces voix évoquent, à leur manière, le fameux texte où Roland Barthes rapporte les propos de Panzera, son maître de chant, faisant la distinction entre l'articulation et la prononciation. Avec l'articulation, dit Barthes, « la langue se met en avant, elle est le fâcheux, le casse-pieds de la musique ; dans l'art de la prononciation au contraire (celui de Panzera), c'est la musique qui vient dans la langue et retrouve ce qu'il y a en elle de musical, d'amoureux.

Esta semana tenemos varias joyas en nuestro programa, como “The Complete Obscure Records Collection” una colección única que contiene los lanzamientos de debut de Gavin Bryars, Michael Nyman, John Adams, David Toop, Max Eastley, Harold Budd, Christopher Hobbs, Jan Steele y Simon Jeffes / The Penguin Café Orchestra, además de importantes obras de John Cage, Tom Phillips y John White, sin mencionar el seminal "Discreet Music" de Brian Eno, que escucharemos en Atmósfera. Además sonarán los trabajos de Gianmaria Aprile, J. WLSN, Kin Leonn, Zöj, Manongo Mujica, Jay Cluss o Darth Athena.Escuchar audio

For this episode we're joined by the Brooklyn-based Andrew Smith, author of the bestselling Moondust, the "dotcom swindle" saga Totally Wired and the brand-new Devil in the Stack. We start by asking Andrew about the peripatetic childhood that took him from Greenwich Village to Hastings via San Francisco's summer of love. A riveting account of auditioning to replace Mick Jones in the Clash leads us to our guest's recollections of writing in the '80s and '90s for Melody Maker and The Face — and eventually becoming chief pop critic at London's Sunday Times. Jumping to Andrew's new book — with its subtitle A Coding Odyssey — we ask him about music's "digital revolution" in the mid-'80s, with particular attention to the ubiquity of Yamaha's DX7 keyboard. From there we revisit his 1995 interview with Björk – an artist who overtly embraced electronic sounds in that decade — and then listen to two audio clips from David Toop's absorbing encounter with the Icelandic maverick six years later. After a fascinating discussion about A.I. – its upsides and its threat not merely to musicians but to humanity at large — we return to the mid-'90s to celebrate the all-too-short life of the Notorious B.I.G., hip hop's "King of New York" in that all-too-violent decade. Mark provides quotes from recently-added library pieces about Captain Beefheart (1969), the Sex Pistols (1978) and oddly Francophobe goths Sisters of Mercy (1987), and Jasper wraps up the episode with his thoughts on articles about pop fanzines (2003) and writer, photographer and recent podcast guest Val Wilmer (2024). Many thanks to special guest Andrew Smith. Devil in the Stack: A Coding Odyssey is published by Grove Press and available now. Visit Andrew's website at andrewsmithauthor.com for more details. Pieces discussed: Andrew Smith on RBP, Björk: An International Word, Sound and Fury: Radiohead, Björk audio, Notorious B.I.G.: B.I.G. Trouble, Biggie, Tupac et al: Hollywood or Bust-up, Black Metropolis: Notorious R.I.P., Captain Beefheart & His Magic Band: Trout Mask Replica, The Sex Pistols: Never Mind the Bollocks, Here's the Sex Pistols, The Sisters Of Mercy: After The Flood, The Fanzine Editor: Publish And Be Damned and Val Wilmer: Deep Blues 1960–1988 (Café Royal).

In this episode we welcome the esteemed David Toop to Hammersmith – on the UK's General Election day – to discuss his extraordinary new book about (and around) Dr. John's 1968 album Gris-Gris. First we revisit the short-lived but splendidly eclectic Collusion magazine our guest co-founded in 1981: we hear about its inception and mission, as manifest in groundbreaking pieces about rap, surf, salsa, exotica and "paranoid sex in '60s soul". We touch on key points along the journey of David's journalistic career before arriving at The Wire in the '90s. A 2012 Pitchfork piece about Wire icon Scott Walker leads us to David's audio interview for that article: two clips from the conversation prompt discussion of Walker's remarkable career from the Walker Brothers to his new album Bish Bosch. Finally we reach the debut album by Malcolm Rebennack, a.k.a. "Dr. John the Night Tripper", and learn of the long gestation of David's book during lockdown. David discusses the complex themes and issues explored in Two-Headed Doctor, including voodoo, racism, minstrelsy, New Orleans, unreliable mythography, and the unsung brilliance of the album's co-creator Harold Battiste. A gravelly clip from the late Charlie Gillett's 1971 audio interview with the Night Tripper himself provides a capsule backstory to the album's germination.  Mark talks us out with quotes from newly-added library pieces about Stan Getz (1973), Fred Wesley (1974), Primal Scream (1997) and Robbie Williams (1999). Many thanks to special guest David Toop. Listening for Ghosts in Dr John's Gris-Gris will be published on August 20th by Strange Attractor. Pieces discussed: ¿Te Gusta La Musica Latina?, Alone in the Dark: Björk on Vespertine, Incredibly Strange and Highly Exotic, Scott Walker audio, Mystic vapour: 'Jump Sturdy' (book excerpt), Dr. John: Shadowy Singer Rises From Bayou, Dr. John In Babylon, Dr. John audio, Harold Battiste, Stan Getz, Fred Wesley, Primal Scream and Robbie Williams.

Podcast de Carl Stone pour websynradio : Aux alentours du Kamya bar, Carl Stone convoque pour ce programme original webSYNradio tout un ensemble d'oeuvres (Ros Bobos, Annie Gosflield, David Toop, Tanner Menard, Joseph Hammer, Ben Neill, Roger Kleier, Saunter Chihei Hatakeyama, Yann Novak, Robert Crouch, Chas Smith, Sawako, Richard Lainhart, et des inédits de Carl Stone) qui nous plonge dans un étourdissant kaleidoscope sonore de plus de 6h !

In this episode the writer and academic Kimberly Mack joins us from Cleveland's Rock and Roll Hall of Fame to discuss the subject of "Black rock" in the context of her 33 1/3 study of Living Colour's Time's Up. We start by asking our guest about her childhood as the daughter of a rock-obsessed Black mother – and her experience of seeing Cheap Trick when theirs were the only Black faces in the Radio City Music Hall audience. She then discusses the "fictional categories (with real-world consequences)" of (white) rock and (Black) funk and R&B, from the earliest marketing of "race records" to the continuing genre segregation of the present day. We trace the line from Jimi Hendrix to Bad Brains – and the racist barriers they encountered. This culminates in Kimberly's recollection of seeing Living Colour on Showtime at the Apollo in 1988 – and how itled eventually to the writing of last year's book about Time's Up. Mark introduces clips from a 1988 audio interview with Living Colour's Vernon Reid. These lead in turn to a conversation about the late Greg Tate, mentor and inspiration to Kimberly and so many others – and the writer who co-founded the Black Rock Coalition with Reid. After namechecks for female rock icons from Labelle to Tracy Chapman, Kimberly talks about the "untold history" of marginalised American rock critics, a book about which she is currently researching. After tributes to MC5 guitarist Wayne Kramer, Can frontman Damo Suzuki and Melody Maker/Quietus scribe Neil Kulkarni, Mark quotes from newly-added RBP library articles about David Bowie (1967), Bill Withers (1972), Alice Cooper (1975) and Porter Wagoner (1978). Jasper then wraps matters up with his thoughts about Frank Owen's 2003 report on the slaying of Run-DMC DJ Jam Master Jay and – from last year – Steve Pafford's account of the making of Gloria Gaynor's immortal disco anthem 'I Will Survive'. Many thanks to special guest Kimberly Mack. Living Colour's Time's Up is published by Bloomsbury and available now. Visit Kimberly's website at kimberlymack.com. Pieces discussed: Johnny Rotten, My Mom and Me, Living Colour's Time's Up (excerpt), Q&A with Jack White, David Toop on Black Rock, RJ Smith on Black Rock & Roll, Michael A. Gonzales' Tribute to Black Rock Coalition, Vernon Reid audio

In onda Gigi Longo. Musiche: Mike Reed, Kahil El'Zabar's Ethnic Heritage Ensemble, NDiPA X Flex Machina, Marla Hansen, Hochzeitskapelle + Tenniscoats, Lumpeks, Max Eastley and David Toop, Markus Stockhausen Luca Formentini, Matthew Halsall, This Celestial Engine.

Solénoïde (22.01.2024) - Si vous êtes un amateur de musiques visuelles et nomades, avide de découvrir les joyaux laissés par l'année 2023, ne manquez pas l'émission à venir qui promet une expérience sonore captivante ! En l'espace d'une cinquantaine de minutes, Solénoïde vous convie à la seconde partie de son bilan musical annuel, offrant un regard rétrospectif sur les temps forts des émissions diffusées lors des missions 225 à 230. Après une première partie étincelante, mêlant électronique, rock et néoclassique, ce deuxième volet explore un nouvel ensemble de 10 albums. Ces sélections, issues de nos émissions passées, reflètent la diversité et l'originalité de la scène musicale actuelle. Chacune de ces œuvres, parfois iconoclastes, dévoile des créations suggestives et atmosphériques, guidées par l'instinct de l'aventure sonore.

Solénoïde (15.01.2024) - Dans l'exercice délicat du bilan annuel, Solénoïde prend les rênes d'une rétrospective musicale captivante, déployant son expertise au travers de deux épisodes aussi éclectiques que révélateurs. L'émission dévoile ainsi une anthologie discographique de 2023, empreinte de subjectivité et de passion. L'année a accueilli des figures éminentes de l'exploration sonore, avec le retour du barde méditatif Stephan Micus, de l'explorateur ambient naturaliste David Toop, et des psychonautes du Kammerflimmer Kollektief. Leur présence signale un renouveau de l'avant-garde musicale. Cependant, l'éclat de 2023 réside aussi dans ses révélations inattendues. Le projet franco-japonais Poil Ueda fusionne chants rituels nippons et free-rock contemporain de manière saisissante. La collaboration entre la chanteuse avant-gardiste Maja Ratkje et l'ensemble de chambre Nordic Affect témoigne d'une créativité iconoclaste. Solénoïde, dans une immersion sonore, expose 20 productions, sélectionnées sans hiérarchie, reflétant le paysage musical de l'année écoulée. Cette première partie du "Rétrobalisage 2023" offre un avant-goût de ces pépites, éveillant la curiosité pour la suite de cette exploration musicale captivante. Restez à l'écoute pour un panorama sonore riche et surprenant à travers les sons qui ont marqué 2023 !

Solénoïde (23.10.2023) - Cette semaine, Solénoïde explore à nouveau le vaste territoire des musiques paysagistes et climatiques. La "Solénosphère 27" vous entraînera dans un éden sonore où les talents méconnus prospèrent, où les poussières cosmiques se mêlent aux vents oniriques. Au cœur de ce voyage immobile, le programme mettra en lumière des productions qui privilégient les timbres sonores et les espaces, souvent associés à des caractéristiques visuelles ou atmosphériques. Cet épisode rendra hommage au regretté Ryuichi Sakamoto, icône de la pop synthétique et avant-gardiste, à travers la compilation "All Micro Ambient Music". Plus de 40 artistes célèbrent la mémoire de ce musicien japonais à travers des compositions inédites, imprégnées d'ambient minimale, parfois enrichies de touches de classique contemporain et de field recordings. Cette Solénosphère nous offrira trois extraits de cette compilation, réunissant des compatriotes de Sakamoto ainsi que des pointures internationales de l'ambient, telles qu'Alva Noto, David Toop et Federico Durand.

Solénoïde (10.07.2023) - Découvrez 4 de nos coups de cœur discographiques récents dans le monde des musiques de traverses et d'atmosphères ! David Toop et Lawrence English exploreront le monde fascinant du field recording avec leur œuvre immersive "The Shell That Speaks The Sea". De séquences naturalistes troublantes en montages bruitistes effrayants, cet album (en radiobalisage) reflètera l'intérêt du duo pour les sons sensibles et hantés. Inventeur de la trompette mutante, l'américain Ben Neill présentera "Prana Cantos", une œuvre ambient méditative accompagnée de textes lus par sa fille. Le percussionniste et claviériste Nevaris, avec l'aide de Bill Laswell, offrira des grooves afro-latins dans son 1er album "Reverberations". Et enfin, Christine Ott se démarquera avec son nouveau trio. Sur l'album éponyme de THE CRY, des compositions hypnotiques et progressives mettront en valeur les ondes martenot et les claviers analogiques.

Music right out of the top drawer on this week's Independent Music Podcast. From computerised funk with added duck noises, through to fiery industrial techno and everything in between. We have stunningly beautiful Middle Eastern dub from Blend Miskin and Panos Dimitrakopoulos, something extraordinary from Brazil's DK RaMeMes, and anthemic doom from Aidan Baker and Circle's Jussi Lehtisalo and lots more. You can listen to the first six tracks for free. To listen to the full episode, get a huge back catalogue of music, and access to our live shows and Discord group, please join our Patreon: patreon.com/independentmusicpodcast. The podcast only survives with Patron support TracklistingTapes – Man Becoming a Duck (Jahtari, Germany)Blend Mishkin & Panos Dimitrakopoulos – The Hidden Agent (Rewind Guaranteed, Greece)James Blackshaw – Why Keep Still? (self-release, UK)DJ RaMeMes – Ei Mané Você Acha Que Seu Som é Bom (QTV Selo, Brazil)Thee Alcoholics – Talent (Live) (Human Worth, UK)Baker Ja Lehtisalo – Racing After Midnight (Cruel Nature Records, UK)David Toop & Lawrence English – Whistling in the Dark (Room40, USA)Colleen – Subterranean – Movement III (Thrill Jockey, USA)Blow Dry Colossus – Lemoncadabra (Memphis Industries, UK)Intergalactic Gary – Industrial Model (Viewlexx Records, Netherlands) This week's episode is sponsored by the state51 Conspiracy, an independent music house. Go to state51.com to find out more about everything they do: state51 Factory sessions and events; hand-made Atelier products; a diverse roster of Label releases; Greedbag stores, pop-up and fanzine, and the Collective of distribution partner labels and artists Produced and edited by Nick McCorriston

Things you love to see? Two absolute powerhouses like David Toop and Lawrence English making a record together. Plus A Handful of Dust continues as a duo, Country Wifi rides again, and some of the fun perks of the Foxy Digitalis patreon. Wednesday episodes are exclusively on Patreon. Album of the Day: David Toop & Lawrence English “The Shell That Speaks The Sea” https://room40.bandcamp.com/album/the-shell-that-speaks-the-sea Additional links for the day: https://carbon-records.bandcamp.com/album/the-drum-is-the-shaman-s-horse Brad Rose is the the principal writer and editor-in-chief of Foxy Digitalis, an online music magazine and has run various DIY record labels for the last 30 years. Wednesday episodes are exclusively on Patreon. foxydigitalis.zone patreon.com/foxydigitalis twitter: @foxydigitalis Instagram: @foxy.digitalis Mastodon: foxydigitalis@mastodonmusic.social

Episode 97 Crosscurrents in Elektronische Musik from Germany Playlist Josef Anton Riedl, “Studie 1b, 1a” (1951) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Early example of German tape composition, categorized as musique concrète as it includes more than purely electronic sounds, but the edited and processed sounds of human voices and instruments (a harp, string bass) as well. But it's the vocal utterances and the way they were edited for effect with unpredictable silences that makes this work stand out for me. Riedl completed this after visiting and hearing musique concrète in France. After that, the Cologne studio came into existence and provided a new means to create electronic music not with microphones, but directly through electronic signals on tape. Riedl switched from making musique concrète to elektronische music. Realization by Riedl in association with the Studio für elektronische Musik des Westdeutschen Rundfunks, Köln (WDR, West German Radio in Cologne). 5:34 Karlheinz Stockhausen, “Étude” (1952) from Elektronische Musik 1952-1960 (1991 Stockhausen Verlag). Realized by Stockhausen during a stay to ORTF, Paris, where he learned the basics of musique concrète, which is how he categorized the piece before working purely electronic music at WDR. 2:56 Karlheinz Stockhausen, “Studie I” (1953) from Elektronische Musik 1952-1960 (1991 Stockhausen Verlag). One of two purely electronic “studies” composed by Stockhausen at the WDR. His serialist approach dictated all aspects of the sound and he composed the works using a graphical approach to depict the shapes and values of the volume, duration, pitch, and timbres of the sound. “Studie I” is among the first works of electronic music composed entirely for sine waves. Although the means for creating “Studie I” are readily available today using computer synthesis, its composition in 1953 required much manual intervention and ingenuity by Stockhausen. “Studie I” was a completely serialized composition in which the composer applied the mathematical analysis of tones and timbres to the way in which he generated, shaped, and edited sounds for a tape composition. With electronic tone generators and tape recorders at his disposal, Stockhausen felt that it was possible to “compose, in the true sense of the word, the timbres in music,” allowing him to synthesize from base elements such as sine waves the structure of a composition, its tone selection, and all of the audio dynamics such as amplitude, attack, duration, and the timbre of the sounds. He approached the composition by first recording a series of electronic tones that met certain pitch and timbral requirements that he prescribed and then using serial techniques to devise an organizational plan that determined the order and duration of the sounds as he edited them together. 9:23 Karlheinz Stockhausen, “Studie II” (1954) from Elektronische Musik 1952-1960 (1991 Stockhausen Verlag). The second of two purely electronic “studies” composed by Stockhausen at the WDR. For “Studie II,” Stockhausen extended his experiments with sine waves begun on “Studie I” by exploring the use of attack and decay characteristics as elements of composition. “Studie II” is one of the first post-war tape works to have a written score, albeit a graphic one in which overlapping translucent geometric shapes are used to denote the occurrence of a tone of a given amplitude in a given frequency with specific attack and decay characteristics. For “Studie II,” Stockhausen defined a set of frequencies based on the same ratio, resulting in an 81-tone scale of tones divided into one-tenth octave steps. The loudness and attack characteristics of the tones were divided into five stages. Tones based on such equal divisions of the frequency spectrum proved to be more harmonic when mixed. Stockhausen recorded short passages of the given tones and spliced them together in a loop that could be played repeatedly. These loops were then played through a reverberation system and then recorded to provide the final material with which the composer worked. Stockhausen's extensive use of reverberation added body and a noise quality to the sounds that embellished the raw sine tones. Using serial techniques to determine how to edit the material together, Stockhausen varied the attack characteristics and then also played some of the sounds backward to create a ramping decay that would abruptly cut off. His application of attack and decay characteristics in five prescribed stages of amplitude resulted in passages that were highly articulated by cascading, irregular rhythms. 2:59 Herbert Eimert, “Fünf Stücke” (1955/56) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Realization, H. Schütz, Herbert Eimert. Produced in the WDR studios, Cologne. Like Pierre Schaffer in France, Eimert had a background in creating music and sound for radio. He was one of the founding directors of the Cologne studio. Of the works included here, this one is a good example of his serialist approach that incorporated constantly changing combinations of defined sounds. 12:31 Gottfried Michael Koenig, “Klangfiguren II” (1955/56) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Realization by Gottfried Michael Koenig. Produced in the WDR studios,Cologne. Koenig was with the WDR Studio for ten years from 1954 to 1964. There he experienced the fundamental aspects of creating works with electronic sound devices, most of which had never been intended to make music. His work led him directly to computer music composition in the 1960s. In “Klangfiguren II” “every sound goes through several working steps, and both the original sound and the various intermediate results of the transformation process are heard.” 10:13 Karlheinz Stockhausen, “Gesang Der Jünglinge” (1955/56) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Realization by Gottfried Michael Koenig, Karlheinz Stockhausen. Produced in the WDR studios, Cologne. “Gesang der Jünglinge” was begun three years before Varèse completed “Poème électronique.” Like the Varèse work, “Gesang der Jünglinge” was produced using a host of electronic music production techniques cultivated earlier at the WDR studios. Stockhausen's approach was to fuse the sonic components of recorded passages of a youth choir with equivalent tones and timbres produced electronically. Stylistically, Stockhausen avoided the choppy, sharply contrasting effects that were so evident in many early magnetic tape pieces, instead weaving his sound sources together into a single, fluid musical element. He practiced his newly formed principles of electronic music composition, setting forth a plan that required the modification of the “speed, length, loudness, softness, density and complexity, the width and narrowness of pitch intervals and differentiations of timbre” in an exact and precise manner. The piece was painstakingly crafted from a visual score specifying the placement of sounds and their dynamic elements over the course of the work 13:03 Hermann Heiss, “Elektronische Komposition 1” (1956) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Realization by H. Schütz, Hermann Heiss. Produced in the WDR studios,Cologne.One does not often hear the name Heiss in relation to electronic music, although he went on the direct the Studio für Elektronische Komposition at the Kranichstein Music Instutute. At the time of this composition, he was focused on adapting electronic sounds to serial composition, for which he thought they were ideally suited. 5:11 Herbert Eimert, “Selection I” (1959) from Panorama Électronique: Electronic Experimental Music (1968 Limelight). For electronic and concrete sounds. 10:03 Herbert Eimert, “Sechs Studien” from Epitaph Für Aikichi Kuboyama (2005 Creel Pone). “Sechs Studien” was composed 1962 & realized by Leopold von Knobelsdorff and released in 1962 on the Wergo label. For electronic and concrete sounds. Interestingly, Eimert was also branching out with the addition of keyboards and what sounds like a theremin (although it might have been an Ondes martenot). The WDR studio had a keyboard instrument built by Harald Bode in 1953, the Melochord, along with a a Monochard made by Friedrich Trautwein. 17:48 Karlheinz Stockhausen, “Kontakte”(1959-60), parts 1 and 2 from the album Gesang Der Jünglinge / Kontakte (1962 Deutsche Grammophon). Composed and realized by Karlheinz Stockhausen. Produced in the WDR studios,Cologne. This work was adapted for phonograph from a 4-track original tape composition. Given that the album could only hold about 25 minutes of sound per side, they divided this piece in two and presented it as parts 1 and 2. I've joined the two parts together for the podcast. Note the experiments in sound movement between the speakers, a facet of electronic music about which Stockhausen was captivated. Around this time, he began using contraptions invented for the Cologne studio that would, for example, rotate a loudspeaker in space from which fixed microphones could pick up fluctuating signals based on the frequency of the speaker rotation. He would eventually use this same technique with live performances and 4 or more speakers to enable the sound to, in effect, rotate around the audience. By the time her wrote the liner notes for this recoding in 1962, he had “publicly performed” the work “more than thirty times in all large European cities as well as in Canada, the USA, and Brazil, and broadcast by most radio stations in both versions” (stereo and radio mixes). Stockhausen's sound palette had also grown more sophisticated by this point and contained many seemingly organic elements that stood out from the earlier, purely electronic music output of the WDR. It is also one of his last electronic works to exploit “total serialism” in which he painstakingly composed around the parameters of sound to “bring all properties” such as timbre, pitch, intensity, and duration under a single control." In 1981, music scholar David Toop looked back on this work and noted that Kontakte was really the culmination of Stockhausen's attempts to apply serialism technique to electronic music and succeeded only at the broadest level. Many other composers by this time had discovered that the fundamental nature of electronic music was to deal with the basic elements of sound and calling it serialism seemed quite meaningless. After all, the structures and tonalities were only as interesting as the listener found them to be. In his case, Stockhausen's uniquely vibrant and organic music, tinged with introspection and shocking contrasts, provided an emotional impact that serialism had never intended. Don't miss hearing the sequence beginning around 17 minutes in that presents a sequence of pulsing electronic tones that are sped up, at first, to sound like a smooth waveform but then lowered in frequency so that you hear the component particles and beats that comprise the faster tone. This was quite a trick using tape manipulation, probably requiring several playbacks of the sound at different speeds and then some eloquent mixing to join the pieces together. 34:33 Mauricio Kagel, “Transicion I” (1958) from Panorama Électronique: Electronic Experimental Music (1968 Limelight). This is one of several reissues of the work that was originally released by Philips (who owned Limelight, its US label). I have several versions of this work and this was in the best shape. Realization by Gottfried Michael Koenig, Mauricio Kagel. Produced in the WDR studios, Cologne. “Transicion I” for electronic sounds (1958) was composed when Kagel first traveled to Cologne, where he remained for the rest of his career. Clearly influenced by the Cologne school of serialism, “Transicion II” was characterized by an exploration of the many aural possibilities of his sound sources set to an arrhythmic, seemingly formless sequence of sonic exclamations without pattern. These works were similar in effect to some of Stockhausen's instrumental pieces of the same period, but radically different from the German's evolving approach to methodical tape composition. 12:49 Opening background music: Four short sections of “Kontakte” (1959-60) from Elektronische Musik 1952-1960 (1991 Stockhausen Verlag). These are not presented in their original order, but comprise Struktur parts 11, 12, 13a and 13b. the CD release on Stockhausen Verlag presents “Kontakte” not a one uniform track but as a set of parts originally created and edited together by Stockhausen. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Portland, OR-based multimedia artist William Selman returns to Mysteries of the Deep with his third album for the label. Drawing on influences such as David Toop, Beatriz Ferreyra, Elizabeth Waldo, and David Behrman, “The Weather Indoors” melds live and synthesized instrumentation, field recordings, and digital processing techniques in a new, more melodic and approachable direction. Immersive site recordings open into melodic woodwinds, orchestral instrumentation, bass guitar, gongs, and vibraphone. Borrowing from the anthropologist Tim Ingold's concept of “inversion,” this widescreen staging cuts immediately to the core of the project: the way human beings use the faculty of imagination to aestheticize their built surroundings with architecture, images of distant locales, and domesticated flora and fauna to contain the anxiety for the natural world that surrounds human life. A clear peak in Selman's extensive catalog, “The Weather Indoors” captures his work at a moment expanding his musical and aesthetic project: Neither genre ambient nor musique concrète, but a unique sound world dense with conceptual play and moments of more traditional harmonic beauty. “We are contaminated by our encounters: they change who we are as we make way for others. As contamination changes world-making projects, mutual worlds—and new directions—may emerge. Everyone carries a history of contamination; purity is not an option.” —Anne Lowenhaupt-Tsing, The Mushroom at the End of the World Releases May 19, 2023 Written, produced, and recorded by William Selman Mastered by Rafael Anton Irisarri at Black Knoll Studio NY Dolby Atmos Mixes by Matthew Patterson Curry Photography, Video Direction, and Words by William Selman Design by Gabriel Benzur Editing by Chris Zaldua Worldwide Distribution: Space Cadets © Mysteries of the Deep MOTDLP016, 2023 mysteriesofthedeep.net

It's Spring Break this week and I'm trying to keep my cool paints with my kid by helping her figure out how to make YouTube videos. It's not going well, but at least Richard Youngs has new album and David Toop has a new collaboration with Tania Caroline Chen. Wednesday episodes are exclusively on Patreon. Album of the Day is: William Basinski “The Clocktower at the Beach (1979)” https://lineimprint.bandcamp.com/album/the-clocktower-at-the-beach-1979 Additional links for the day: https://shrikerecords.bandcamp.com/album/thought-forms https://blacktruffle.bandcamp.com/album/modern-sorrow https://www.bonfire.com/foxy-digitalis-t-shirt/ Brad Rose is the the principal writer and editor-in-chief of Foxy Digitalis, an online music magazine and has run various DIY record labels for the last 30 years. Wednesday episodes are exclusively on Patreon. foxydigitalis.zone patreon.com/foxydigitalis twitter: @foxydigitalis Instagram: @foxy.digitalis Mastodon: foxydigitalis@mastodonmusic.social

This week's guest is the fabulous musician Eric Chenaux!A great conversation on creativity, song writing and much more.Here is the wide range of artists mentioned in the interview for you to look into:Stewart Lee. Steven Wright. Loren Mazzacane Conners. Inside Out Music. Martin Arnold.Ryan Driver. Eric Cazdy. Paul Bley – Open to Love. Townes Van Zandt. Obscure Records. John Cage. David Toop. Gavin Bryiars – The Sinking of the Titanic, Jesus Blood Never Failed Me Yet. John White. The Scratch Orchestra. Irma Opera. Jack Nitzsche. Feu Therese. Efrim Menuck. Joni Void. Polmo Polpo aka Sandro Perri. Sly Stone. Carla Bley. EPMD. Gang Starr.Eric Chenaux - There's Our LoveGet in touch with the show: info@codesintheclouds.net or @codesclouds on Instagram and Twitter Hosted on Acast. See acast.com/privacy for more information.

In this episode we welcome legendary Island Records founder Chris Blackwell and invite him to reminisce about key moments in his career at the helm of one of the UK's great independent labels.Chris describes his youth in Jamaica, his early exposure to Kingston's sound systems, and his move back to England in 1962. From Millie's 1964 smash 'My Boy Lollipop' to Island's expansion from ska and blue beat into rock and folk, the Harrow-educated mogul reflects on the vital importance of artists such as Steve Winwood, Free, John Martyn and of course the Wailers, the band that made roots reggae a global phenomenon. Clips from a 1988 audio interview with Bunny Wailer prompt reflections on the "Blackheart Man" and his role within the group. A discussion of the Compass Point studio Chris built in the Bahamas takes us to the Island reinvention of Grace Jones and the stunning early '80s albums she made there with the immortal rhythm section of Sly Dunbar & Robbie Shakespeare.References to the week's featured writer Rob Partridge — Island's head of press from 1977 to 1991 — leads to recall of the label's biggest act, U2, and the eventual sale of Island to Polygram... not forgetting Chris' signing of the singular Tom Waits in 1983.Many thanks to special guest Chris Blackwell, whose autobiography The Islander is published by Nine Eight Books and available now.Pieces discussed: Maureen Cleave on Ska and Blue Beat, Chris Blackwell in conversation with Richard Green, Richard Williams on Island Records, David Toop on the sale of Island Records, Rob Partridge on Free, Rob Partridge on Reggae and Bunny Wailer in conversation with Mark Sinker (audio).

In this episode we welcome legendary Island Records founder Chris Blackwell and invite him to reminisce about key moments in his career at the helm of one of the UK's great independent labels.Chris describes his youth in Jamaica, his early exposure to Kingston's sound systems, and his move back to England in 1962. From Millie's 1964 smash 'My Boy Lollipop' to Island's expansion from ska and blue beat into rock and folk, the Harrow-educated mogul reflects on the vital importance of artists such as Steve Winwood, Free, John Martyn and of course the Wailers, the band that made roots reggae a global phenomenon. Clips from a 1988 audio interview with Bunny Wailer prompt reflections on the "Blackheart Man" and his role within the group. A discussion of the Compass Point studio Chris built in the Bahamas takes us to the Island reinvention of Grace Jones and the stunning early '80s albums she made there with the immortal rhythm section of Sly Dunbar & Robbie Shakespeare.References to the week's featured writer Rob Partridge — Island's head of press from 1977 to 1991 — leads to recall of the label's biggest act, U2, and the eventual sale of Island to Polygram... not forgetting Chris' signing of the singular Tom Waits in 1983.Many thanks to special guest Chris Blackwell, whose autobiography The Islander is published by Nine Eight Books and available now.Pieces discussed: Maureen Cleave on Ska and Blue Beat, Chris Blackwell in conversation with Richard Green, Richard Williams on Island Records, David Toop on the sale of Island Records, Rob Partridge on Free, Rob Partridge on Reggae and Bunny Wailer in conversation with Mark Sinker (audio).

• Steve Beresford & David Toop & John Zorn & Tonie Marshall • Billy Stewart • Steve Beresford & Anne Marie Beretta • Begin Says • Tony Hymas • Eduardo Moreno • Michal Turtle • Roberto Musci & Giovanni Venosta • Mike Herting • Franco Nanni & Elicoide Ensemble • Thierfeldt • Archie Shepp & Jasper van't Hof • Nando Carneiro • Paris Bis • Orquesta de las Nubes

Ambient music helped me survive the darkest moments of the pandemic, and David Toop's 2001 classic, Ocean of Sound, gave me the context to fully appreciate what I was listening to.He is a rare bird, with dual careers as both an accomplished musician and historian/cultural critic. In a world where artists are so often concerned about overthinking, Toop revels in it.I reached out on hearing that a pair of his 90s works – Pink Spirit and Noir World – had been reissued on vinyl.It was equally an opportunity to discuss silence, a frequent topic of his writings that has become an increasing feature for many who've been forced to slow down for once, amid the pandemic. See acast.com/privacy for privacy and opt-out information.

Morrow interviews Toop, the poetic musician and author of Ocean of Sound and Haunted Weather who has followed the path of shamanism and sonic experience. He is a respected improviser and thinks of all his creative activity as improvisation.  

Episode 64 Playlist Hugh Davies, “Shozyg I” from the National Sound Archive of The British Library. The file was produced in Davies' home studio and dates from 1968. 8:16 The Music Improvisation Company, “Tuck” from The Music Improvisation Company (1970 ECM). Electric Guitar, Derek Bailey; Live Electronics, Hugh Davies; Percussion, Jamie Muir; Soprano Saxophone, Evan Parker. Recorded on August 25th, 26th, 27th, 1970 at the Merstham Studios, London. 3:14 Gentle Fire, “Group Composition IV” (excerpt) from Explorations (1970 - 1973) (2020 Paradigm Discs). Recorded live At ICES 72 (The Roundhouse, London, 14th August 1972). Cello, Michael Robinson; Springboard, Hugh Davies; Performer, Gentle Fire; Recorder, EMS VCS3, Graham Hearn; Tabla, Richard Bernas; Trumpet, Cello, Stuart Jones. 4:33 Gentle Fire, “Edges” from Earle Brown, John Cage, Christian Wolff – 4 Systems, Music For Amplified Toy Pianos, Music For Carillon, Edges (1974 EMI Electrola). German recording of the Christian Wolff piece “Edges,” performed by Gentle Fire. Graham Hearn, Hugh Davies, Michael Robinson, Richard Bernas, Stuart Jones. 10:17 Hugh Davies, “Music for Bowed Diaphragms” from the National Sound Archive of The British Library. The file was produced in Davies' home studio and dates from October 7, 1977. 10:08 Hugh Davies, “Salad” from the National Sound Archive of The British Library. The file was produced in Davies' home studio and dates from February 19, 1977. Davies performs on four different egg slicers, two tomato slicers and one cheese slicer. 13:55 Hugh Davies, “Toads” from the National Sound Archive of The British Library. The recording dates from 1980. 5:50 Hugh Davies, “Spring Song” from the National Sound Archive of The British Library. The recording dates from 1980. 4:56 Borbetomagus, “Concordat 7” from Work On What Has Been Spoiled (1981 Agaric). Live Electronics, Hugh Davies; Guitar, Donald Miller; Saxophone, Don Dietrich, Jim Sauter. 4:57 Hugh Davies, “Porcupine” from Warming up with the Iceman (2001 GROB). Solo work from 2000. 5:08. Porcupine was a more recent instrument invented by Davies in 2000. It comprised a disc shaped contact microphone and some wires that create a glissandi when touched with a finger. 5:08 Hugh Davies, “From Trees and Rocks” from Tapestries: Five Electronic Pieces (2005 Ants). Music for an installation at the Diozesanmuseum in Cologne called Walkmen that ran from April to September of 2000. A work in which “all the sounds were related to the processes that would have been undergone in order to transforms trees and rocks into works of art, especially sawing and chiselling; to these sounds I added others which were produced by treating the tools themselves as if they were simple musical instruments” (Davies). This CD is noted for the generous and informative biographical notes by David Toop, a friend and sometimes collaborator of Davies. 9:49 Background music: Karlheinz Stockhausen, Mikrophonie I (excerpt) (1967 Columbia). A key work for which Davies contributed while he was working as an assistant to Stockhausen. Filters, Potentiometers, Hugh Davies, Jaap Spek, Karlheinz Stockhausen; Microphones, Harald Bojé, Johannes Fritsch; Tamtam, Fred Alings, Aloys Kontarsky. 13:02 Notes: Many of the works attributed to the National Sound Archive of The British Library are also available on the following commercial recording: Hugh Davies, Performances 1969 – 1977 (2008 Another Timbre), a UK CD The Hugh Davies Collection: live electronic music and self-built electro-acoustic musical instruments, 1967–1975. Researcher/scholar James Mooney, of the University of Leeds, UK, keeps the Davies flame alive with his contributions around Davies handmade instruments and music. 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.  

Ghost Dog-The Way Of The Samurai (Flying Birds), 1999Bird Wings.  The Future Sound Of London   LifeformsPresque rien avec filles A   Luc Ferrari   Presque RienOstrich Feathers Played On Drum MoondogBirds In The Morning  The Poetics, Mike Kelley, Tony OurslerMyna bird  Eden AhbezSong of the Cacique bird   Wayapi (Guyane)Bird Up   BananagunCasoar  Rol BastiLe Corbeau et le renard   Louis de Funès, 1970Swan's Splashdown   Perrey & KingsleyLes oiseaux sont des cons   ChavalBirdbrain  Dark DayKicking A Pigeon   The MabusesDead Pigeon Suite  CANThe Party  Peter Sellers (Birdie Num Num)Birdy Num-num   Lizzy Mercier DesclouxLittle Birdy  Ween  Pure GuavaCoiffe de parade  David Fenech  CagesanBirds Of Scotland Joe Jones + Chicken To Kitchen FluxsaintsOiseaux à 4 pattes  Dick AnnegarnJaybird  Scott DunbarGrand Duc  Bertrand BelinLe Petit Duc (pt. I) – Dansk  Knud ViktorLes Hiboux  Anne et GillesLa belle histoire de Jacotte et ItoSimone's Song (The Parrot Song)   Jim GillBird Code  Meredith MonkBirds are flying in the room, Birds are flying in the garden Jérémie GrandsenneWhat Ever Happened to Baby Jane?   Robert Aldrich, 1962    Sparrowfall   Brian EnoWhat If Birds Aren't Singing They're Screaming   Aldous HardingLMC   David Toop, Paul Burwell, 1979Yankee Doodle Birds  Harry PartchOiseau chanteur  François BayleRain Calls for Bird   Motohiko HamasePoules   Gabriel Yared

Die Brainwashed - Radio Edition ist eine einstündige Show mit Musik von den Künstlern und Labels auf Brainwashed.com. 1. Silver Apples, "Charred Fragments" (Clinging To A Dream) 2016 Chicken Coop 2. Windy & Carl, "Program" (Electronic Evocations: A Tribute to the Silver Apples) 1996 Enraptured 3. Meat Beat Manifesto, "Lovefingers (live at the Fillmore)" (BRAIN009) 2005 Brainwashed 4. Future Museums, "Rabbit in Passing" (Rabbit in Passing) 2020 Holodeck 5. Nathan Amundson, "Solo Piano" (Solo Piano) 2020 self-released 6. David Toop, "Suddenly the world had dropped away" (Apparition Paintings) 2020 Room40 7. The Dead C, "Grunt Machine" (Unknowns) 2020 Ba Da Bing! 8. Potter Natalizia Zen, "Ukim" (Magari) 2020 Ecstatic 9. Pinkcourtesyphone, "another interior" (Leaving Everything To Be Desired) 2020 Room40 10. Christopher Bissonnette, "Overture" (Wayfinding) 2020 12k ## Brainwashed - Radio Edition Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening. *

Die Brainwashed - Radio Edition ist eine einstündige Show mit Musik von den Künstlern und Labels auf Brainwashed.com. 1. Silver Apples, "Charred Fragments" (Clinging To A Dream) 2016 Chicken Coop 2. Windy & Carl, "Program" (Electronic Evocations: A Tribute to the Silver Apples) 1996 Enraptured 3. Meat Beat Manifesto, "Lovefingers (live at the Fillmore)" (BRAIN009) 2005 Brainwashed 4. Future Museums, "Rabbit in Passing" (Rabbit in Passing) 2020 Holodeck 5. Nathan Amundson, "Solo Piano" (Solo Piano) 2020 self-released 6. David Toop, "Suddenly the world had dropped away" (Apparition Paintings) 2020 Room40 7. The Dead C, "Grunt Machine" (Unknowns) 2020 Ba Da Bing! 8. Potter Natalizia Zen, "Ukim" (Magari) 2020 Ecstatic 9. Pinkcourtesyphone, "another interior" (Leaving Everything To Be Desired) 2020 Room40 10. Christopher Bissonnette, "Overture" (Wayfinding) 2020 12k ## Brainwashed - Radio Edition Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening. *

CITR’s 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something.This morning’s show features Unexplained Sounds Group's v/a ANTHOLOGY OF PERSIAN EXPERIMENTAL MUSIC II, TAPHEPHOBIA and DAVID TOOP.

Esta semana seguimos con la improvisación, con el libro que comentamos hace dos semanas de David Toop y con las técnicas que usan los músicos para improvisar... aunque solo es una excusa... en realidad tengo 10 canciones buenísimas para escuchar... así que no tenéis excusa... y si eres músico y tienes una tecnica distinta a la que comentamos... ponlo en los comentarios por favor!!

Esta semana comentamos el libro "En el Maelström" de David Toop y Caja Negra editores; un libro dedicado a la musica libre y a la improvisación... ¿tienes los oídos preparados?... no te preocupes... cae Bill Evans, cae John Coltrane y otros muy escuchables...

CITR’s 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something.This morning's show features DEISON, DAVID EVANS and DAVID TOOP.Historical playlists / podcasts > https://www.citr.ca/radio/bepi-crespan-presents/

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Thunder, Lightening and Rain by Walt Disney Sound Effects Group on Chilling, Thrilling Sounds of the Haunted House (Walt Disney Records) 1′07″ The Last Stop by Uilos on I: Dark Night of the Soul (So Called Hell ) 5′40″ Afterlife/Judgement by John Bence on Kill - Single (Thrill Jockey Records ) 7′46″ She fell asleep somewhere outside the world by David Toop on Apparition Paintings (Room40) 11′50″ A Long Paleness by Graeme Miller & Steve Shill on The Carrier Frequency (Finders Keepers) 16′08″ Truth by Isolating on Perennial (Agnes / 4GN3S ) 17′30″ Music For Three Combs by Lisa Lerkenfeldt on Collagen (Shelter Press ) 21′10″ Hymn For 2020 by Magik Markers on 2020 (Drag City Records ) 24′18″ Spirits of Redeemer by Summer of Seventeen on Summer of Seventeen (Karlrecords) 27′57″ Tropy by Samutek on Omamy (Evening Chants ) 34′18″ Nightmare Moon Desert by Karwan Marouf on Oskar & Lily – Where No One Knows Us (Original Motion Picture Soundtrack) (Ronahi Records ) 35′14″ Alone by Timo van Luijk & Mark Harwood on Vang Circular (Penultimate Press) 39′12″ Le Hable a la ola del mar by Mint Field on Sentimiento Mundial (felte) 40′27″ Toom by Rojin Sharafi on Zangaar (Zabte Sote ) 45′42″ Scamming Shaman Pin by Jesse Osborne-Lanthier on Left My Brain @ Can Paixano (La Xampanyeria) Ost (Haunter Records ) 47′50″ Fog Constellation (Approaching) by Kassel Jaeger on Swamps/Things (Shelter Press ) 51′25″ Point Zero (feat. Bob Stohl & Kat Epple) by Barry Cleveland on Stones of Precious Water (Telephone Explosion Records ) 53′15″ Mass for the Endangered by Gabriel Crouch & Gallicantus on Sarah Kirkland Snider: Mass for the Endangered (Nonesuch Records) 56′38″ Tranq by Buttechno on Psy X (Gost Zvuk) 58′40″ Them (Prologue) [feat. Malibu] by Oliver Coates on A Little Night Music: Aural Apparitions from the Geographic North (Geographic North) 61′30″ Avuls I by Only Now X Orogen on Avuls (Sucata Tapes) 66′44″ Early Morning Mist by Daniel O'Sullivan on Electric Māyā: Dream Flotsam and Astral Hinterlands (VHF) 68′00″ Klirrfaktor by Conrad Schnitzler & Frank Bretschneider on Con-Struct (Bureau B) 70′20″ Sat by Désaccord Majeur on Sunquake (A Colourful Storm ) 74′16″ Sunder by Nicolas Jaar on Cenizas (Other People) 77′00″ Burning Feather by Eartheater on Phoenix: Flames Are Dew Upon My Skin (PAN) 78′20″ To Lonely Shores by Locust on After the Rain (Channel Of Light ) 82′48″ Black Wind, Pt. 1 by Only Now on Black Wind / Merciless Destiny (Kush Arora Publishing) 85′40″ Ker P.O.G. itw by Principles of Geometry on Tigersushi Demos 2000-2020 (Tigersushi Records) 87′40″ Palermo, June 1848 by Guy Hobsbawm on Communes Qui Poussent Comme Des Champignons Après Le Déluge (Mysteries of the Deep) 89′40″ Barnacles by Hyph11E on Barnacles (SVBKVLT) 92′00″ Kiss of the Phoenix by Eartheater on Phoenix: Flames Are Dew Upon My Skin (PAN ) 94′55″ Nora by Samutek on Omamy (Evening Chants) 98′06″ Wisdom Has a Certain Innocence To It (feat. Anthony Baldino) [feat. Anthony Baldino] by Valance Drakes on Freedom Is Its Own Kind of Salary (LAAPS) 100′20″ Drifting Off To Birds by Erik K Skodvin on Anbessa (Miasmah Recordings) 101′37″ Berceuse by Penelope Trappes on Eel Drip (Houndstooth) 105′10″ Inertia by Ossia on Devil’s Dance (Blackest Ever Black) 107′25″ End of Summer, Pt. 3 (with Hildur Gudnadottir & Robert Aiki Aubrey Lowe) by Jóhann Jóhannsson on End of Summer (with Hildur Gudnadottir & Robert Aiki Aubrey Lowe) (Sonic Pieces) 112′36″ Shenandoah, Texas by J D Emmanuel on New Neighborhoods (Freedom To Spend) 118′32″ The Great Pumpkin Waltz by Vince Guaraldi on It's the Great Pumpkin, Charlie Brown (Craft Recordings) Check out the full archives on the website.

Shackleton / Zimpel; Sarah Davachi; Ian William Craig; David Toop; SUSS; Andrew Wasylyk; MJ Guider; Koen Holtkamp; Khotin; Mothmouth; Tangents; Buildings and Food; Numün; Khotin; German Army; Kelly Lee Owens; MJ Guider; Jeff Parker; The Near Jazz Experience; Buildings and Food; Kelly Lee Owens; Mathew Dear; The Novotones; Komakino; Submotion Orchestra; CFCF & Pete Samples.

Pablo's Eye; David Toop; M Geddes Gengras; Sarah Davachi; Autotelia; Julianna Barwick; Jon Hassell; Pole; Tangents; Numün; Julia Kent; Sarah Davachi; SUSS; Loscil; Pantha du Prince; Alex Haas / Bill Laswell; Fink; Lucretia Dalt; White Poppy; Kelly Lee Owens; Andrew Wasylyk; Aidan Baker; Maya Jane Coles; JaiPaul; Jacques Greene & Cabaret Voltaire.

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Dawn in Rishikesh (feat. Anoushka Shankar, Tenzin Choegyal & Charlotte Gainsbourg) by Soundwalk Collective & Patti Smith on Peradam (feat. Anoushka Shankar, Tenzin Choegyal & Charlotte Gainsbourg) (Bella Union) 1′00″ 新東京スカイライン by D R O I D R O Y on 東京午前零時 (FORGOT IMPRINT INC. ) 7′09″ Trizlang Gem ft. Ulla by Pontiac Streator on Triz' (Motion Ward ) 11′15″ Head above the Parakeets by HAAi on Put Your Head above the Parakeets (Mute) 17′00″ Foid by Cylob on Cylobian Sunset (Cylob Industries ) 22′00″ Mr. Speaker by Grand River on Blink a Few Times to Clear Your Eyes (Editions Mego) 25′37″ Dreem Theme by Quaid on Dreem Static (Apron Records) 26′30″ Ama Divers by oqbqbo on Tired Sun (Posh Isolation) 29′30″ Jetstream by Stønefruit on Seville (Budo Kiba) 34′56″ A Never Ending Dream of Love by Denham Audio on Caviar Cordial (Lobster Theremin) 38′10″ Two Trains Came Through the Station at Once and It Felt Like a Hurricane by Dylan Henner on The Invention of the Human (AD 93) 41′44″ Interlude by Remember on Four Shots of Green Stone (Dream Catalogue) 44′25″ One More Morning by Daniel Avery on Love + Light (Mute ) 48′20″ Euphoric Dream Ocean by John Beltran on The Season Series (Delsin Records) 55′40″ For believing (you were a strange beautiful unearthly creature from a faraway planet) by David Toop on Apparition Paintings (Room40) 57′40″ Sustainable III by Nozomu Matsumoto on Sustainable Hours - Soundtrack for installation by Nile Koetting (The Death Of Rave ) 64′30″ Go On by Corben on Programmer (Pacific Rhythm) 69′56″ Glan 1 Polliwog CC by Aria Rostami on Several Days From Now You Will Be Invited To Complete An Online Survey (self released) 73′04″ Névoa by Naves Cilindricas on Névoa (Domina) 76′19″ Blackbox by Pun Collins on Dying Together (Them There Records) 78′55″ Unfold by Lapalux on Esrevoinma (Brainfeeder ) 81′04″ Exodexo by Benfika on Ruinas (Infinite Machine) 85′30″ In the Horizon by Etari on Astral Therapy, Vol.1 (Yellow Island) 90′50″ Yoyogi Park by Croatian Amor on All in the Same Breath (Posh Isolation) 94′40″ Signy Hall by Sun Genam on Angry Gods (Who's Susan) 99′40″ Restart by Baril on One More Rush (Intercept) 103′00″ And Relief Washes Over Me In An Awesome Wave by Nathan Micay on The World I'm Going To Hell For (LuckyMe) 107′10″ New Worlds by Tom Jarmey on Amber Glass (Lobster Theremin) 113′14″ Guiding Light (On the Horizon Mix) by Mass Density Human on Dancing in Space (Night Noise) The next Transfiguration is on Sunday, September 20th at 2:00 pm. Check out the full archives on the website.

Episode 483: September 13, 2020 playlist: Silver Apples, "Charred Fragments" (Clinging To A Dream) 2016 Chicken Coop Windy and Carl, "Program" (Electronic Evocations: A Tribute to the Silver Apples) 1996 Enraptured Meat Beat Manifesto, "Lovefingers (live at the Fillmore)" (BRAIN009) 2005 Brainwashed Future Museums, "Rabbit in Passing" (Rabbit in Passing) 2020 Holodeck Nathan Amundson, "Solo Piano" (Solo Piano) 2020 self-released David Toop, "Suddenly the world had dropped away" (Apparition Paintings) 2020 Room40 The Dead C, "Grunt Machine" (Unknowns) 2020 Ba Da Bing! Potter Natalizia Zen, "Ukim" (Magari) 2020 Ecstatic Pinkcourtesyphone, "another interior" (Leaving Everything To Be Desired) 2020 Room40 Christopher Bissonnette, "Overture" (Wayfinding) 2020 12k Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

Barry Lewis is a British photographer and filmmaker who for several decades has worked internationally for numerous prestigious publications from Life magazine to National Geographic. Having originally studied theoretical chemistry, Barry won a scholarship from the Royal College of Art to do an MA in photography and subsequently began his career in style when he won the Vogue Award and worked as a staff photographer for the magazine on a salary of £10 per week.In 1981, Barry co-founded Network Photographers a London-based co-operative photo agency for photojournalists and documentary photographers, based loosely on the Magnum Photos model.As well as photojournalism and portraiture, Barry has directed over 20 documentaries, commercials and art films. His work has been exhibited at the Victoria & Albert Museum, The Museum of London and The Photographers Gallery, London. Notable exhibitions and awards include Positive Lives (1993), a book and international exhibition about living with AIDS and the World Press Award’s Oskar Barnack Medal for humanitarian photography (1990). In 2019 his images from Butlins in the 1980s were shown at Turner Contemporary as part of the “Resort” show. Since 2010 Barry has worked with musician David Toop and singer Elaine Mitchener to produce the mixed-media production “Of Leonardo” for the Teatro Fondamenta Nuove, Venice. A new version, choreographed by Dam Van Huynh, now tours internationally with a performance at the Purcell Room on the South Bank in September 2018.Barry has published numerous photobooks including Blackpool 1984-1989  (Café Royal books), Butlins Holiday Camp 1982  (Café Royal books), Soho in the 1990s (Café Royal books), Vaguely Lost in Shangri-la: 14 years of the Glastonbury Festival (Flood Publications) and Miami Beach 1985-2000 (Hoxton Mini Press, 2019). On episode 133, Barry discusses, among other things:Chemistry, teaching and the Royal CollegeComing of age in the 60sStarting Network PhotographersAdventures on assignment in Romania  Winning the Oksar Barnack Award for his Copsa Mica storyAlbaniaMiami Beach projectPhotographing strangersMaking filmsOrganising his archiveThe National Memorial for Peace and Justice, AlabamaBLM and London during lockdown Referenced:Bill BrandtTony Ray JonesHomer SykesW. Eugene SmithMike AbrahamsMike GoldwaterJohn SturrockMartin SlavinSue TrangmarColin JacobsonMary Ellen MarkDaniel Meadows Website (in progress) | Instagram | Facebook“I toured China with Elton John and Watford football club. You can’t make these things up. And there were no other photographers. So you had this kind of access and freedom. And just travelling… It was so exciting.”

In this episode we talk about Elaine Mitchener's many projects, improvisation, music education, Jeanne Lee and much more. Elaine Mitchener is an experimental vocalist, movement artist and composer, whose work encompasses improvisation, contemporary music theatre and performance art. Born in East London to Jamaican parents, Elaine studied voice at Trinity College of Music, London and currently studies with Jacqueline Bremar. She has performed at numerous UK and European festivals, venues and galleries including Aldeburgh Music, London Contemporary Music Festival (LCMF), 56th Venice Biennale, Wysing Arts, Café Oto (London), Bluecoat (Liverpool), SAVVY Contemporary (Berlin), Purcell Room (Southbank Centre, London), Huddersfield Contemporary Music Festival, ULTIMA Festival (Oslo), OCCUPY (St John’s Smith Square), SPILL Festival (Ipswich), La Monnaie (Brussels), Block Universe (London), White Cube (London), Whitechapel Gallery (London), Weserburg MOMA (Bremen), Wellcome Collection (London), and the Institute of Contemporary Arts (London). She has worked and performed in a wide variety of contexts with an array of leading musicians, composers, directors and visual artists including Moor Mother (Camae Ayewa), Mark Padmore, The Otolith Group, Deborah Warner, Christian Marclay, Apartment House, Steve Beresford, Pat Thomas, Irvine Arditti, Sonia Boyce, London Sinfonietta, John Butcher,Tansy Davies, George. E. Lewis, Attila Csihar, Rolf Hind, Dam Van Huynh, Lore Lixenberg, George Lewis, Alexander Hawkins, Sam Belinfante, Phil Minton, Evan Parker, Alasdair Roberts, Lucy Bailey, David Toop, Netia Jones, Matt Wright, and Jason Yarde. Elaine is co-founder of the experimental jazz quartet the Hawkins/Mitchener Quartet and a regular vocalist with the ensemble Apartment House. She created the role of Hannah/Voice singing with tenor Mark Padmore, in the opera CAVE, by composer Tansy Davies with libretto by Nick Drake, co-commissioned by the London Sinfonietta / Royal Opera House and directed by Lucy Bailey which premiered in June 2018. Her production company Elaine Mitchener Projects has researched, developed, produced and toured or staged a number of projects including Industrialising Intimacy (with choreographer Dam Van Huynh, David Toop, George Lewis); The Nude Voice (with Dam Van Huynh) commissioned for the Wellcome Collection London’s THIS IS A VOICE exhibition; ‘I back… I neck… I face… I chest’ commissioned by Sonia Boyce for her installation We Move In Her Way at London’s ICA; Of Leonardo da Vinci (with Dam Van Huynh, David Toop, Barry Lewis) for Oslo’s ULTIMA Festival; the three hour durational performance [NAMES] premiered at Ipswich’s SPILL Festival; a presentation of John Cage’s SongBooks for London’s Poetry In The City Festival; Vocal Classics of the Black Avantgarde for LCMF; and SWEET TOOTH in partnership with Bluecoat Liverpool, Stuart Hall Foundation and the International Slavery Museum. Premiered in Nov 2017, SWEET TOOTH has been described as ‘a vital black British addition to those seminal creative statements of resistance and defiance from the African Diaspora’, and was subsequently broadcast on BBC Radio 3’s Hear and Now programme (Dec 2017). Elaine has participated in residencies and symposiums including Aldeburgh Music (to develop SWEET TOOTH) and Fondazione Claudio Buziol, Venice (where she developed Of Leonardo Da Vinci supported by Muziektheater Transparant) and New Resonances organised by Theatrum Mundi. For more information about Elaine Mitchener please visit: http://www.elainemitchener.com/ © Let's Talk Off The Podium, 2020

In this week's episode, we welcome former Face editor Sheryl Garratt into RBP's Zoomworld to ask her about rave and club culture – and how we got from disco to acid house to 2020's quarantine raves. Sheryl discusses her newly-reissued/revised 1999 classic Adventures in Wonderland and looks back on her journey from the NME to The Observer. Mark, Barney & Jasper ask her about her seminal 1986 Face piece on Chicago's House scene – and about Ecstasy and 1988's "second summer of love". Clips from the week's new audio interview, a 2005 conversation between DJ History's Bill & Frank and Shoom/Boy's Own legend Terry Farley, provide the perfect springboard for further reminiscence of House music and the UK's ever-fecund club scene. Sheryl also pitches in on the week's Free On RBP feature about fellow Brummie Mike (The Streets) Skinner, whose classic track 'Weak Become Heroes' was arguably the greatest elegy for the rave era. We hear a clip of Skinner speaking to Gavin Martin in 2002 and celebrate that year's splendid Original Pirate Material album. Among the new RBP library additions considered are Hugh Nolan's Disc report on London's psychedelic temple the UFO club (1967), a slightly unlikely 1989 encounter between David Toop and Bakersfield country icon Buck Owens, and Chris Heath's hilarious 1997 Rolling Stone cover story on the Spice Girls. Jasper takes us out with observations on a pointless Tim Buckley tribute album (2000) and an interview with Public Service Broadcasting's amusingly-monikered J. Willgoose , Esquire … Many thanks to special guest Sheryl Garratt; buy Adventures in Wonderland on Amazon and visit her website at sherylgarratt.com.Pieces discussed: House sound of Chicago, Blackpool Weekender, 1988 and all that, Terry Farley audio, The Streets audio, The Streetser, The Streetsest, UFO Club, George Harrison, Al Green, Buck Owens, Neil Kulkarni's letter to MM, Spice Girls, Tim Buckley tribute, Tim Buckley live, James Blood Ulmer, Public Service Broadcasting and Britney Spears.The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.

In this week's episode, we welcome former Face editor Sheryl Garratt into RBP's Zoomworld to ask her about rave and club culture – and how we got from disco to acid house to 2020's quarantine raves. Sheryl discusses her newly-reissued/revised 1999 classic Adventures in Wonderland and looks back on her journey from the NME to The Observer. Mark, Barney & Jasper ask her about her seminal 1986 Face piece on Chicago's House scene – and about Ecstasy and 1988's "second summer of love".  Clips from the week's new audio interview, a 2005 conversation between DJ History's Bill & Frank and Shoom/Boy's Own legend Terry Farley, provide the perfect springboard for further reminiscence of House music and the UK's ever-fecund club scene. Sheryl also pitches in on the week's Free On RBP feature about fellow Brummie Mike (The Streets) Skinner, whose classic track 'Weak Become Heroes' was arguably the greatest elegy for the rave era. We hear a clip of Skinner speaking to Gavin Martin in 2002 and celebrate that year's splendid Original Pirate Material album.  Among the new RBP library additions considered are Hugh Nolan's Disc report on London's psychedelic temple the UFO club (1967), a slightly unlikely 1989 encounter between David Toop and Bakersfield country icon Buck Owens, and Chris Heath's hilarious 1997 Rolling Stone cover story on the Spice Girls. Jasper takes us out with observations on a pointless Tim Buckley tribute album (2000) and an interview with Public Service Broadcasting's amusingly-monikered J. Willgoose , Esquire …  Many thanks to special guest Sheryl Garratt; buy Adventures in Wonderland on Amazon and visit her website at sherylgarratt.com. Pieces discussed: House sound of Chicago, Blackpool Weekender, 1988 and all that, Terry Farley audio, The Streets audio, The Streetser, The Streetsest, UFO Club, George Harrison, Al Green, Buck Owens, Neil Kulkarni's letter to MM, Spice Girls, Tim Buckley tribute, Tim Buckley live, James Blood Ulmer, Public Service Broadcasting and Britney Spears. The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.

In this week's episode, we welcome former Face editor Sheryl Garratt into RBP's Zoomworld to ask her about rave and club culture – and how we got from disco to acid house to 2020's quarantine raves. Sheryl discusses her newly-reissued/revised 1999 classic Adventures in Wonderland and looks back on her journey from the NME to The Observer. Mark, Barney & Jasper ask her about her seminal 1986 Face piece on Chicago's House scene – and about Ecstasy and 1988's "second summer of love". Clips from the week's new audio interview, a 2005 conversation between DJ History's Bill & Frank and Shoom/Boy's Own legend Terry Farley, provide the perfect springboard for further reminiscence of House music and the UK's ever-fecund club scene. Sheryl also pitches in on the week's Free On RBP feature about fellow Brummie Mike (The Streets) Skinner, whose classic track 'Weak Become Heroes' was arguably the greatest elegy for the rave era. We hear a clip of Skinner speaking to Gavin Martin in 2002 and celebrate that year's splendid Original Pirate Material album. Among the new RBP library additions considered are Hugh Nolan's Disc report on London's psychedelic temple the UFO club (1967), a slightly unlikely 1989 encounter between David Toop and Bakersfield country icon Buck Owens, and Chris Heath's hilarious 1997 Rolling Stone cover story on the Spice Girls. Jasper takes us out with observations on a pointless Tim Buckley tribute album (2000) and an interview with Public Service Broadcasting's amusingly-monikered J. Willgoose , Esquire … Many thanks to special guest Sheryl Garratt; buy Adventures in Wonderland on Amazon and visit her website at sherylgarratt.com.Pieces discussed: House sound of Chicago, Blackpool Weekender, 1988 and all that, Terry Farley audio, The Streets audio, The Streetser, The Streetsest, UFO Club, George Harrison, Al Green, Buck Owens, Neil Kulkarni's letter to MM, Spice Girls, Tim Buckley tribute, Tim Buckley live, James Blood Ulmer, Public Service Broadcasting and Britney Spears.The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.

In this week's episode, we welcome former Face editor Sheryl Garratt into RBP's Zoomworld to ask her about rave and club culture – and how we got from disco to acid house to 2020's quarantine raves. Sheryl discusses her newly-reissued/revised 1999 classic Adventures in Wonderland and looks back on her journey from the NME to The Observer. Mark, Barney & Jasper ask her about her seminal 1986 Face piece on Chicago's House scene – and about Ecstasy and 1988's "second summer of love".  Clips from the week's new audio interview, a 2005 conversation between DJ History's Bill & Frank and Shoom/Boy's Own legend Terry Farley, provide the perfect springboard for further reminiscence of House music and the UK's ever-fecund club scene. Sheryl also pitches in on the week's Free On RBP feature about fellow Brummie Mike (The Streets) Skinner, whose classic track 'Weak Become Heroes' was arguably the greatest elegy for the rave era. We hear a clip of Skinner speaking to Gavin Martin in 2002 and celebrate that year's splendid Original Pirate Material album.  Among the new RBP library additions considered are Hugh Nolan's Disc report on London's psychedelic temple the UFO club (1967), a slightly unlikely 1989 encounter between David Toop and Bakersfield country icon Buck Owens, and Chris Heath's hilarious 1997 Rolling Stone cover story on the Spice Girls. Jasper takes us out with observations on a pointless Tim Buckley tribute album (2000) and an interview with Public Service Broadcasting's amusingly-monikered J. Willgoose , Esquire …  Many thanks to special guest Sheryl Garratt; buy Adventures in Wonderland on Amazon and visit her website at sherylgarratt.com. Pieces discussed: House sound of Chicago, Blackpool Weekender, 1988 and all that, Terry Farley audio, The Streets audio, The Streetser, The Streetsest, UFO Club, George Harrison, Al Green, Buck Owens, Neil Kulkarni's letter to MM, Spice Girls, Tim Buckley tribute, Tim Buckley live, James Blood Ulmer, Public Service Broadcasting and Britney Spears. The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.

In this week's episode, Mark, Barney and Jasper discuss the role music has played in expressing the pain and rage of Black Americans. Touching on such seminal figures as Nina Simone, Curtis Mayfield and the Last Poets, they listen to clips from a 1976 audio interview with the late Gil Scott-Heron, assessing his militant poetics and the albums he made with Brian Jackson. From there, the RBP team considers interviews with Public Enemy's Chuck D in 1992 and, from 2015, Kendrick Lamar. They also discuss a 1971 piece about James Brown by pioneering Black "rock critic" Vernon Gibbs. Mark talks us through such highlights of the week's new additions to the RBP library — Philip Elwood's live review of Judy Garland at San Carlos' Circle Star, Roy Carr's interview with New Orleans piano great Professor Longhair, Michael Goldberg's salute to New York electro-punk duo Suicide and David Toop's tribute to '60s pop Svengali Larry Parnes. Barney cites a timely 2011 interview with Harry Belafonte, wherein the singer-actor reflects on his civil-rights activism, after which Jasper wraps up matters by looking at pieces about the boundary-pushing Peaches, the return of Neneh Cherry and the bizarre artist known formerly as Terence Trent D'Arby. The Rock's Backpages podcast is part of the Pantheon podcast network.Please consider donating to organisations fighting against racism and injustice, such as Black Lives Matter UK and the NAACP/NAACP Legal Defense Fund.For further resources, readings, and ways to help, please visit https://blacklivesmatters.carrd.co.Pieces discussed: Gil Scott-Heron audio, Nina Simone, Public Enemy, Kendrick Lamar, James Brown, Indie labels, Judy Garland, Professor Longhair, Suicide, Larry Parnes, Depeche Mode, Charles Brown, Harry Belafonte, Peaches, Alicia Keys, Neneh Cherry and Terence Trent D'Arby.

In this week's episode, Mark, Barney and Jasper discuss the role music has played in expressing the pain and rage of Black Americans. Touching on such seminal figures as Nina Simone, Curtis Mayfield and the Last Poets, they listen to clips from a 1976 audio interview with the late Gil Scott-Heron, assessing his militant poetics and the albums he made with Brian Jackson. From there, the RBP team considers interviews with Public Enemy's Chuck D in 1992 and, from 2015, Kendrick Lamar. They also discuss a 1971 piece about James Brown by pioneering Black "rock critic" Vernon Gibbs.  Mark talks us through such highlights of the week's new additions to the RBP library — Philip Elwood's live review of Judy Garland at San Carlos' Circle Star, Roy Carr's interview with New Orleans piano great Professor Longhair, Michael Goldberg's salute to New York electro-punk duo Suicide and David Toop's tribute to '60s pop Svengali Larry Parnes. Barney cites a timely 2011 interview with Harry Belafonte, wherein the singer-actor reflects on his civil-rights activism, after which Jasper wraps up matters by looking at pieces about the boundary-pushing Peaches, the return of Neneh Cherry and the bizarre artist known formerly as Terence Trent D'Arby.  The Rock's Backpages podcast is part of the Pantheon podcast network. Please consider donating to organisations fighting against racism and injustice, such as Black Lives Matter UK and the NAACP/NAACP Legal Defense Fund. For further resources, readings, and ways to help, please visit https://blacklivesmatters.carrd.co. Pieces discussed: Gil Scott-Heron audio, Nina Simone, Public Enemy, Kendrick Lamar, James Brown, Indie labels, Judy Garland, Professor Longhair, Suicide, Larry Parnes, Depeche Mode, Charles Brown, Harry Belafonte, Peaches, Alicia Keys, Neneh Cherry and Terence Trent D'Arby.

In this week's episode, Mark, Barney and Jasper discuss the role music has played in expressing the pain and rage of Black Americans. Touching on such seminal figures as Nina Simone, Curtis Mayfield and the Last Poets, they listen to clips from a 1976 audio interview with the late Gil Scott-Heron, assessing his militant poetics and the albums he made with Brian Jackson. From there, the RBP team considers interviews with Public Enemy's Chuck D in 1992 and, from 2015, Kendrick Lamar. They also discuss a 1971 piece about James Brown by pioneering Black "rock critic" Vernon Gibbs. Mark talks us through such highlights of the week's new additions to the RBP library — Philip Elwood's live review of Judy Garland at San Carlos' Circle Star, Roy Carr's interview with New Orleans piano great Professor Longhair, Michael Goldberg's salute to New York electro-punk duo Suicide and David Toop's tribute to '60s pop Svengali Larry Parnes. Barney cites a timely 2011 interview with Harry Belafonte, wherein the singer-actor reflects on his civil-rights activism, after which Jasper wraps up matters by looking at pieces about the boundary-pushing Peaches, the return of Neneh Cherry and the bizarre artist known formerly as Terence Trent D'Arby. The Rock's Backpages podcast is part of the Pantheon podcast network.Please consider donating to organisations fighting against racism and injustice, such as Black Lives Matter UK and the NAACP/NAACP Legal Defense Fund.For further resources, readings, and ways to help, please visit https://blacklivesmatters.carrd.co.Pieces discussed: Gil Scott-Heron audio, Nina Simone, Public Enemy, Kendrick Lamar, James Brown, Indie labels, Judy Garland, Professor Longhair, Suicide, Larry Parnes, Depeche Mode, Charles Brown, Harry Belafonte, Peaches, Alicia Keys, Neneh Cherry and Terence Trent D'Arby.

In this week's episode, Mark, Barney and Jasper discuss the role music has played in expressing the pain and rage of Black Americans. Touching on such seminal figures as Nina Simone, Curtis Mayfield and the Last Poets, they listen to clips from a 1976 audio interview with the late Gil Scott-Heron, assessing his militant poetics and the albums he made with Brian Jackson. From there, the RBP team considers interviews with Public Enemy's Chuck D in 1992 and, from 2015, Kendrick Lamar. They also discuss a 1971 piece about James Brown by pioneering Black "rock critic" Vernon Gibbs.  Mark talks us through such highlights of the week's new additions to the RBP library — Philip Elwood's live review of Judy Garland at San Carlos' Circle Star, Roy Carr's interview with New Orleans piano great Professor Longhair, Michael Goldberg's salute to New York electro-punk duo Suicide and David Toop's tribute to '60s pop Svengali Larry Parnes. Barney cites a timely 2011 interview with Harry Belafonte, wherein the singer-actor reflects on his civil-rights activism, after which Jasper wraps up matters by looking at pieces about the boundary-pushing Peaches, the return of Neneh Cherry and the bizarre artist known formerly as Terence Trent D'Arby.  The Rock's Backpages podcast is part of the Pantheon podcast network. Please consider donating to organisations fighting against racism and injustice, such as Black Lives Matter UK and the NAACP/NAACP Legal Defense Fund. For further resources, readings, and ways to help, please visit https://blacklivesmatters.carrd.co. Pieces discussed: Gil Scott-Heron audio, Nina Simone, Public Enemy, Kendrick Lamar, James Brown, Indie labels, Judy Garland, Professor Longhair, Suicide, Larry Parnes, Depeche Mode, Charles Brown, Harry Belafonte, Peaches, Alicia Keys, Neneh Cherry and Terence Trent D'Arby.

Federico Medina recomienda En el Maelström, de David Toop, publicado por Caja Negra.

a cura di Alessandro Achilli. Musiche di Joni Mitchell, Jimi Hendrix, Nucleus, Charles Trenet, Steve Beresford - David Toop - John Zorn - Tonie Marshall, Sun Ra Arkestra (prima parte)

a cura di Alessandro Achilli. Musiche di Joni Mitchell, Jimi Hendrix, Nucleus, Charles Trenet, Steve Beresford - David Toop - John Zorn - Tonie Marshall, Sun Ra Arkestra (prima parte)

Dharma is a guitarist who is probably best known for his work in the Singapore art-rock band The Observatory, which has been running for almost 20 years now. They've made a bunch of records, have toured all over the world, and they even have a documentary you can check out called The Obs. You can find that on iTunes, and Dharma appears quite a lot in it, as well a lot of other Singapore musicians, and David Toop even pops up for a bit in there as well. The Observatory is currently a three-piece consisting of Dharma on guitar, Yuen Chee-Wai on guitar, and Cheryl Ong on drums. They're all amazing musicians, and you'll definitely be hearing more about them in future episodes of this podcast.Back in December, I went to a festival in Singapore called Playfreely which The Observatory had organised and I asked Dharma if we could record an interview. He was super busy at the time because, in addition to making the festival happen, he was doing a recording session with Wukir. If you're not familiar with Wukir, he is best known for being one half of the band Senyawa along with his bandmate Rully Shabara (episode 2 of this podcast) Wukir builds his own instruments for all of his projects and he was also playing at Playfreely in December with a new instrument he had built.At the end of one of their recording days, I went down to the studio to interview Dharma and since Wukir was there, I ended up talking with him as well. The recording was a little bit chaotic but in the best way; we ended up recording it outside in the fresh air because they'd been couped up in the studio all day, but it was quite windy, so you'll hear that in the mics. Then it started raining and we ended up moving inside. You can also hear a fourth person who helps translate for Wukir at a couple of points. That's my friend Mahamboro who was also in Singapore at the time to play some shows. This was one of my favourite interviews I've done so far for this podcast, so I hope you enjoy it as much as I did.Tracks played: audio from Wukir, Dharma, and PGR's performance at KLEX Festival 2019LinksWukir, Dharma, and PGR @ KLEX Festival video: https://www.youtube.com/watch?v=1qIKKlFBBWsWukir and Dharma's split cassette: https://www.tandangstore.com/products/--wukir---dharma-industrial-mutant---the-resistance-split-cassetteLinks for DharmaDharma's bandcamp: https://dharma13.bandcamp.com/The Observatory bandcamp: https://theobservatory.bandcamp.com/The Obs documentary: http://obsdocu.sg/Links for Wukir SuryadiWukir Suryadi bandcamp: https://wukirsuryadi.bandcamp.com/Senyawa's Yes No Wave page: http://yesnowave.com/artists/senyawa/Senyawa on Spotify: https://open.spotify.com/artist/0F0QctWhGzgl1Ih560JzWJPancawala split (Coffee Faith, Dissonant, BRRR., DJ Miko, Anquan): https://mindblasting.wordpress.com/2020/01/01/pancawala-split/Concrescence Records YouTube channel: https://www.youtube.com/channel/UCqKkFOv5-FOVTTbl0oojrfw

Matthew Sweet with NYT journalist Kate Murphy, Anne Karpf & David Toop in a conversation about paying attention and how to hear each other properly. Kate's new book You're Not Listening draws on her interviews with a range of people including priests, focus group co-ordinators and CIA interrogators. Former radio critic Anne Karpf is the author of the Human Voice and professor of Life Writing and Culture at London Metropolitan University. David Toop is a musician, composer and professor of Audio Culture and Improvisation at London College of Communication. His album Entities Inertias Faint Beings includes the track Dry Keys Echo in the Dark and Humid Early Hours which features in the programme.

La abundancia de publicaciones relacionadas con el arte sonoro en los últimos tiempos -quizá una forma de compensar la ausencia de ellas durante demasiados años del pasado- nos anima a presentar de nuevo un monográfico de Ars Sonora dedicado a libros de reciente aparición. Comenzamos comentando dos exposiciones del MACBA (Museo de Arte Contemporáneo de Barcelona) relacionadas con la creación sonora experimental, cuyos respectivos catálogos representan importantes hitos bibliográficos. En primer lugar, la muestra titulada "Christian Marclay. Composiciones" -que se celebró entre abril y septiembre de 2019, y que comisarió Tanya Barson- examinó la obra del autor suizo-estadounidense "a través de su dedicación a la composición, entendida como un ordenamiento de sonidos en el tiempo y el espacio, pero también como composición visual". Por otra parte, la exposición "Takis", dedicada al escultor griego Panagiotis Vassilakis (1925-2019), comisariada por Guy Brett, Michael Wellen y Teresa Grandas, puede visitarse desde el 22 de noviembre de 2019 hasta el 19 de abril de 2020, y también ha propiciado un recomendable catálogo en el que se describen trabajos relacionados con el magnetismo, la luz y la electricidad en el dominio visual, pero también -y muy destacadamente- en el sonoro. A continuación nos centramos en varias publicaciones recientes de la editorial de la Universidad de Duke, cada vez más activa en el ámbito de los estudios sonoros. "Hush. Media and Sonic Self-Control", de Mack Hagood, destaca entre esas novedades procedentes de Duke University Press por su original aproximación a las tecnologías destinadas a crear espacios "protegidos" a través del sonido. No tan interesante resulta "Remapping Sound Studies", editado por Gavin Steingo y Jim Sykes, con aportaciones de Jessica A. Schwartz, Louise Meintjes, Tripta Chandola, Michele Friedner, Jairo Moreno, Ana María Ochoa Gautier, Michael Birenbaum Quintero, Jeff Roy, Shayna Silverstein, Ben Tausig y Hervé Tchumkam; si bien resulta indiscutible el valor de sus exploraciones de músicas procedentes de África, el sudeste asiático, latinoamérica o la Micronesia -entre otras áreas del mundo-, en realidad el mero hecho de que sean investigadores instalados en algunos de los más poderosos centros universitarios del planeta -a menudo radicados en los Estados Unidos- no solamente limita el alcance y el interés de esos estudios, sino que incurre en contradicciones relativas al propósito y la forma de empoderar o dar voz a colectividades tradicionalmente silenciadas o subalternadas. Por su parte, "Sound Objects", editado por James A. Steintrager y Rey Chow -que reúne contribuciones de Jairo Moreno, Georgina Born, Michael Bull, Michel Chion, John Dack, Veit Erlmann, Brian Kane, John Mowitt, Pooja Rangan, Gavin Steingo, Jonathan Sterne y David Toop- aporta nuevas y sugerentes perspectivas acerca de la noción de "objeto sonoro" inicialmente planteada por Pierre Schaeffer. Concluimos nuestro repaso de las últimas ediciones llevadas a cabo por Duke University Press con "Digital Sound Studies", editado por Mary Caton Lingold, Darren Mueller y Whitney Trettien, una aproximación al cruce entre dos campos académicamente emergentes: las humanidades digitales y los estudios sonoros. Nos detenemos, también, en "Metaphonics. The Field Works Listener's Guide", publicado por la editorial independiente Jap Sam Books, que propone un curioso recorrido a través de trabajos recientes vinculados a la fonografía y al paisajismo sonoro. Y no podía faltar, como en casi todos nuestros programas dedicados a lo libresco, la alusión a la deslumbrante labor editorial de Bloomsbury, en este caso a través de un pequeño volumen titulado "Podcasting. The Audio Media Revolution", firmado por Martin Spinelli y Lance Dann. Concluimos el programa con una breve recensión de "El giro notacional", de José Iges y Manuel Olveira, un texto dedicado a la exposición homónima que ambos comisariaron en 2019 para el MUSAC de León (y a la que nosotros dedicamos una edición monográfica de Ars Sonora hace ahora justamente un año). Tanto en aquella muestra como en este libro se contemplan las estrategias relacionadas con sistemas notacionales aplicados desde los años sesenta del pasado siglo por artistas de diversas disciplinas. El libro, que supera en su análisis los contornos de la citada exposición, ha sido editado por Fernando Castro Flórez, director de la Colección Infraleves del CENDEAC (Murcia). Las audiciones que complementan nuestros comentarios incluyen obras de Christian Marclay -la grabación de "Zoom Zoom", una de las performances que desarrolló en el MACBA, en este caso junto a la vocalista Shelley Hirsch-, Michel Chion -"Train De Pianos, Op. 1"-, y diversas muestras de los trabajos presentados en el libro "Metaphonics. The Field Works Listener's Guide". Escuchar audio

In this week's episode – the last of 2019 – Mark, Barney & "Jazzbo" see out the year by celebrating the sheer majesty of Aretha Franklin and the posthumously-released Amazing Grace documentary.Featured writer Tom Cox provides the perfect segue: a 1999 piece about the Queen Of Soul and her Atlantic Records producer/mentor Jerry Wexler. Your hosts also enjoy a chuckle as they revisit Tom's 2004 piece on Apple's new GarageBand "workstation".Attention then turns to a 2007 audio interview with uptown funkateer and retromaniac producer Mark Ronson. We hear a clip from Maureen Paton's back-of-a-cab conversation with Ronson, after which RBP's three amigos discuss his subsequent career and his work with Amy Winehouse.Marks talks us through new additions to the RBP library, including Keith Altham in the studio in 1968 with the Rolling Stones (and Jean-Luc Godard!); a 1971 Roy Carr rendezvous with the skinhead edition of Slade; and Joe "Mr. C" McEwen profiling the splendidly eccentric Jerry "Swamp Dogg" Williams in 1975. Jasper rounds matters off with quotes from David Toop's 2001 Wire interview with the brilliant Björk … and a brief chat about Boris Johnson's new nemesis Stormzy.Oh, and to prove we're not just about yesteryear, we've compiled a playlist of our favourite tracks of 2019: beautiful & thrilling music by the likes of Lizzo, Foals, Brittany Howard, Bon Iver, Nilüfer Yanya, Rustin Man, Billie Eilish, Vampire Weekend, Joan Shelley... and of course Amyl & the Sniffers! Pieces discussed: Aretha Franklin: Amazing Grace film, Amazing Grace album, Rev. James Cleveland, Jerry Wexler, Garageband, Sloan, Mark Ronson audio, Stones set studio on fire, Lionel Hampton, Sly & the Family Stone, Slade, Carl Palmer, Swamp Dogg, Culture Club, Pavement, De La Soul, Björk, Jamie Cullum and Stormzy.The RBP podcast is part of the Pantheon Podcasts network.

In this week's episode – the last of 2019 – Mark, Barney & "Jazzbo" see out the year by celebrating the sheer majesty of Aretha Franklin and the posthumously-released Amazing Grace documentary. Featured writer Tom Cox provides the perfect segue: a 1999 piece about the Queen Of Soul and her Atlantic Records producer/mentor Jerry Wexler. Your hosts also enjoy a chuckle as they revisit Tom's 2004 piece on Apple's new GarageBand "workstation". Attention then turns to a 2007 audio interview with uptown funkateer and retromaniac producer Mark Ronson. We hear a clip from Maureen Paton's back-of-a-cab conversation with Ronson, after which RBP's three amigos discuss his subsequent career and his work with Amy Winehouse. Marks talks us through new additions to the RBP library, including Keith Altham in the studio in 1968 with the Rolling Stones (and Jean-Luc Godard!); a 1971 Roy Carr rendezvous with the skinhead edition of Slade; and Joe "Mr. C" McEwen profiling the splendidly eccentric Jerry "Swamp Dogg" Williams in 1975. Jasper rounds matters off with quotes from David Toop's 2001 Wire interview with the brilliant Björk … and a brief chat about Boris Johnson's new nemesis Stormzy. Oh, and to prove we're not just about yesteryear, we've compiled a playlist of our favourite tracks of 2019: beautiful & thrilling music by the likes of Lizzo, Foals, Brittany Howard, Bon Iver, Nilüfer Yanya, Rustin Man, Billie Eilish, Vampire Weekend, Joan Shelley... and of course Amyl & the Sniffers!  Pieces discussed: Aretha Franklin: Amazing Grace film, Amazing Grace album, Rev. James Cleveland, Jerry Wexler, Garageband, Sloan, Mark Ronson audio, Stones set studio on fire, Lionel Hampton, Sly & the Family Stone, Slade, Carl Palmer, Swamp Dogg, Culture Club, Pavement, De La Soul, Björk, Jamie Cullum and Stormzy. The RBP podcast is part of the Pantheon Podcasts network.

Mark & Barney invite writer and fearless musical improviser David Toop to reminisce about his work and his long and fascinating career.Toop talks about the impact of an aunt returning from New York with a stack of rhythm & blues 78s – and how this instilled a lifelong love of black American music. After he describes his early adventures in free and improvised music, his hosts ask how a man who's collaborated with Brian Eno and Max Eastley came to profile Bros for The Face – by way of his pioneering 1984 book The Rap Attack, the first serious study of the East Coast hip hop scene. The three men then discuss the cult "disco auteur" Arthur Russell, whom Toop interviewed.Toop also pitches in on the subject of the week's free feature, cult dubstep star Will "Burial" Bevan, with Barney waxing ecstatic about the man's noughties albums and subsequent Hyperdub tracks – and Toop making slightly more sceptical noises.Mark intros the week's new audio interview, with the late Joe Smith, and we hear a clip of the veteran West Coast executive discussing Joni Mitchell, one of the many artists he worked with at Warner Brothers and Elektra/Asylum. After considering Smith's role in the rise of acts like the Grateful Dead, Toop confesses to a surprising penchant for Crosby, Stills & Nash, prompting a more general discussion of dismantling musical hierarchies.Finally, Mark talks us through his highlights among the week's new library articles, including pieces on the Four Tops (1966), Mott the Hoople, with David Bowie on backing vocals (1972) and the late Luther Vandross (1985) – another artist Toop interviewed for The Face.Many thanks to special guest David Toop; Inflamed Invisible is out now, and you can visit his blog at davidtoopblog.com.Pieces discussed: Rap, Arthur Russell, Arthur Russell by Frank Owen, David Toop, Burial, Burialer, Burialest, Joe Smith audio, The Four Tops, Flower Power reader's letter, Mott the Hoople, Luther Vandross and YMCA.The RBP podcast is part of the Pantheon Podcasts network.

Mark & Barney invite writer and fearless musical improviser David Toop to reminisce about his work and his long and fascinating career. Toop talks about the impact of an aunt returning from New York with a stack of rhythm & blues 78s – and how this instilled a lifelong love of black American music. After he describes his early adventures in free and improvised music, his hosts ask how a man who's collaborated with Brian Eno and Max Eastley came to profile Bros for The Face – by way of his pioneering 1984 book The Rap Attack, the first serious study of the East Coast hip hop scene. The three men then discuss the cult "disco auteur" Arthur Russell, whom Toop interviewed. Toop also pitches in on the subject of the week's free feature, cult dubstep star Will "Burial" Bevan, with Barney waxing ecstatic about the man's noughties albums and subsequent Hyperdub tracks – and Toop making slightly more sceptical noises. Mark intros the week's new audio interview, with the late Joe Smith, and we hear a clip of the veteran West Coast executive discussing Joni Mitchell, one of the many artists he worked with at Warner Brothers and Elektra/Asylum. After considering Smith's role in the rise of acts like the Grateful Dead, Toop confesses to a surprising penchant for Crosby, Stills & Nash, prompting a more general discussion of dismantling musical hierarchies. Finally, Mark talks us through his highlights among the week's new library articles, including pieces on the Four Tops (1966), Mott the Hoople, with David Bowie on backing vocals (1972) and the late Luther Vandross (1985) – another artist Toop interviewed for The Face. Many thanks to special guest David Toop; Inflamed Invisible is out now, and you can visit his blog at davidtoopblog.com. Pieces discussed: Rap, Arthur Russell, Arthur Russell by Frank Owen, David Toop, Burial, Burialer, Burialest, Joe Smith audio, The Four Tops, Flower Power reader's letter, Mott the Hoople, Luther Vandross and YMCA. The RBP podcast is part of the Pantheon Podcasts network.

Funky Jeff is a Canadian DJ/blogger, describing himself as a Space Jockey and mixologist which means he likes lots of different styles, mixing genres in his sets. He is also a record collector & radio show host listening detroit techno, electro, downtempo and IDM but also jazz, new-wave and funk! (@funky_jeff) He is pationate by history of music, which he comments on his blog in a very Old school way, commenting his recent Funky DJ sets as well as latest Aphex twin release. Infuences : Kraftwerk, Brian Eno, Biosphere, Can, Vangelis, Global communication ,Orbital, Autechre, FSOL, Photek, Aphex Twin, David Toop, Laurent Garnier, Plastikman, Underworld, Speedy J, Jeff Mills, Autechre, DJ Shadow, Monolake, Claude Young, UR, Basic Channel. Description of the mix : IDM, Detroit techno, dark electro, and Techno side on this mix done on vinyl & CDs where electro is rooted in the music of Cybotron and Model 500, and later defined more fully in the '90s by artists such as Drexciya and recently, The Exaltics. A mixture of groovy detroit sounds but chilly IDM and lush electronica. links: https://funkyjeff77.wordpress.com https://www.facebook.com/Halcyondays01/ Tracklist : 01. Carl Craig aka 69 - If Mojo Was A.M. (Extended Version) 02. Monolake - Void 03. Aleksi Perälä - Escort 04. Aleksi Perälä - Papa Don't Preach 05. Maurizio - M-7 (Basic Channel) 06. Booka Shade - Vertigo 07. Egyptian lover - Egypt Egypt 08. Orbital – You lot 09. Goldfrapp - Strict Machine [Ewan Pearson Extended Vocal Mix] 10. Ludwig A.F. Röhrscheid - Velocity 11. The Exaltics - I.M.O.E.H. 11. Gunnar Haslam – Overcomplete 12. Boris Divider - Sentry 13. Der Zyklus - Formenverwandler (Shapeshifter) 14. Sound Synthesis - Neurolink Cyborg 15. E.R.P. - Ancient Light - Original Mix & Exaltics remix 16. Drexciya - Black Sea 17. Skee Mask - Calimance (Delay mix) 18. [D'Breez] - Crazy for Love (Autechre Remix) 19. Skee Mask - Muk FM 20. Aleksi Perala – NLL561606936 (CBS024LP) 21. Vosper - Behind the wheel (Depeche mode cover) 22. Model 500 - Sound Of Stereo (1987) 23. Mayan Gold - Intergalactic Traveler [Uncanny Valley] 24. E.R.P. - New road 25. Transllusion - Dimensional Glide 26. Aux 88 - Break It Down 27. E.R.P. - Noetic 28. Infiniti - Game One 29. Outro : having fun...!

Funky Jeff is a Canadian DJ/blogger, describing himself as a Space Jockey and mixologist which means he likes lots of different styles, mixing genres in his sets. He is also a record collector & radio show host listening detroit techno, electro, downtempo and IDM but also jazz, new-wave and funk! (@funky_jeff) He is pationate by history of music, which he comments on his blog in a very Old school way, commenting his recent Funky DJ sets as well as latest Aphex twin release. Infuences : Kraftwerk, Brian Eno, Biosphere, Can, Vangelis, Global communication ,Orbital, Autechre, FSOL, Photek, Aphex Twin, David Toop, Laurent Garnier, Plastikman, Underworld, Speedy J, Jeff Mills, Autechre, DJ Shadow, Monolake, Claude Young, UR, Basic Channel. Description of the mix : IDM, Detroit techno, dark electro, and Techno side on this mix done on vinyl & CDs where electro is rooted in the music of Cybotron and Model 500, and later defined more fully in the '90s by artists such as Drexciya and recently, The Exaltics. A mixture of groovy detroit sounds but chilly IDM and lush electronica. links: https://funkyjeff77.wordpress.com https://www.facebook.com/Halcyondays01/ Tracklist : 01. Carl Craig aka 69 - If Mojo Was A.M. (Extended Version) 02. Monolake - Void 03. Aleksi Perälä - Escort 04. Aleksi Perälä - Papa Don't Preach 05. Maurizio - M-7 (Basic Channel) 06. Booka Shade - Vertigo 07. Egyptian lover - Egypt Egypt 08. Orbital – You lot 09. Goldfrapp - Strict Machine [Ewan Pearson Extended Vocal Mix] 10. Ludwig A.F. Röhrscheid - Velocity 11. The Exaltics - I.M.O.E.H. 11. Gunnar Haslam – Overcomplete 12. Boris Divider - Sentry 13. Der Zyklus - Formenverwandler (Shapeshifter) 14. Sound Synthesis - Neurolink Cyborg 15. E.R.P. - Ancient Light - Original Mix & Exaltics remix 16. Drexciya - Black Sea 17. Skee Mask - Calimance (Delay mix) 18. [D'Breez] - Crazy for Love (Autechre Remix) 19. Skee Mask - Muk FM 20. Aleksi Perala – NLL561606936 (CBS024LP) 21. Vosper - Behind the wheel (Depeche mode cover) 22. Model 500 - Sound Of Stereo (1987) 23. Mayan Gold - Intergalactic Traveler [Uncanny Valley] 24. E.R.P. - New road 25. Transllusion - Dimensional Glide 26. Aux 88 - Break It Down 27. E.R.P. - Noetic 28. Infiniti - Game One 29. Outro : having fun...!

Funky Jeff is a Canadian DJ/blogger, describing himself as a Space Jockey and mixologist which means he likes lots of different styles, mixing genres in his sets. He is also a record collector & radio show host listening detroit techno, electro, downtempo and IDM but also jazz, new-wave and funk! (@funky_jeff) He is pationate by history of music, which he comments on his blog in a very Old school way, commenting his recent Funky DJ sets as well as latest Aphex twin release. Infuences : Kraftwerk, Brian Eno, Biosphere, Can, Vangelis, Global communication ,Orbital, Autechre, FSOL, Photek, Aphex Twin, David Toop, Laurent Garnier, Plastikman, Underworld, Speedy J, Jeff Mills, Autechre, DJ Shadow, Monolake, Claude Young, UR, Basic Channel. Description of the mix : IDM, Detroit techno, dark electro, and Techno side on this mix done on vinyl & CDs where electro is rooted in the music of Cybotron and Model 500, and later defined more fully in the '90s by artists such as Drexciya and recently, The Exaltics. A mixture of groovy detroit sounds but chilly IDM and lush electronica. links: https://funkyjeff77.wordpress.com https://www.facebook.com/Halcyondays01/ Tracklist : 01. Carl Craig aka 69 - If Mojo Was A.M. (Extended Version) 02. Monolake - Void 03. Aleksi Perälä - Escort 04. Aleksi Perälä - Papa Don't Preach 05. Maurizio - M-7 (Basic Channel) 06. Booka Shade - Vertigo 07. Egyptian lover - Egypt Egypt 08. Orbital – You lot 09. Goldfrapp - Strict Machine [Ewan Pearson Extended Vocal Mix] 10. Ludwig A.F. Röhrscheid - Velocity 11. The Exaltics - I.M.O.E.H. 11. Gunnar Haslam – Overcomplete 12. Boris Divider - Sentry 13. Der Zyklus - Formenverwandler (Shapeshifter) 14. Sound Synthesis - Neurolink Cyborg 15. E.R.P. - Ancient Light - Original Mix & Exaltics remix 16. Drexciya - Black Sea 17. Skee Mask - Calimance (Delay mix) 18. [D'Breez] - Crazy for Love (Autechre Remix) 19. Skee Mask - Muk FM 20. Aleksi Perala – NLL561606936 (CBS024LP) 21. Vosper - Behind the wheel (Depeche mode cover) 22. Model 500 - Sound Of Stereo (1987) 23. Mayan Gold - Intergalactic Traveler [Uncanny Valley] 24. E.R.P. - New road 25. Transllusion - Dimensional Glide 26. Aux 88 - Break It Down 27. E.R.P. - Noetic 28. Infiniti - Game One 29. Outro : having fun...!

Funky Jeff is a Canadian DJ/blogger, describing himself as a Space Jockey and mixologist which means he likes lots of different styles, mixing genres in his sets. He is also a record collector & radio show host listening detroit techno, electro, downtempo and IDM but also jazz, new-wave and funk! (@funky_jeff) He is pationate by history of music, which he comments on his blog in a very Old school way, commenting his recent Funky DJ sets as well as latest Aphex twin release. Infuences : Kraftwerk, Brian Eno, Biosphere, Can, Vangelis, Global communication ,Orbital, Autechre, FSOL, Photek, Aphex Twin, David Toop, Laurent Garnier, Plastikman, Underworld, Speedy J, Jeff Mills, Autechre, DJ Shadow, Monolake, Claude Young, UR, Basic Channel. Description of the mix : IDM, Detroit techno, dark electro, and Techno side on this mix done on vinyl & CDs where electro is rooted in the music of Cybotron and Model 500, and later defined more fully in the '90s by artists such as Drexciya and recently, The Exaltics. A mixture of groovy detroit sounds but chilly IDM and lush electronica. links: https://funkyjeff77.wordpress.com https://www.facebook.com/Halcyondays01/ Tracklist : 01. Carl Craig aka 69 - If Mojo Was A.M. (Extended Version) 02. Monolake - Void 03. Aleksi Perälä - Escort 04. Aleksi Perälä - Papa Don't Preach 05. Maurizio - M-7 (Basic Channel) 06. Booka Shade - Vertigo 07. Egyptian lover - Egypt Egypt 08. Orbital – You lot 09. Goldfrapp - Strict Machine [Ewan Pearson Extended Vocal Mix] 10. Ludwig A.F. Röhrscheid - Velocity 11. The Exaltics - I.M.O.E.H. 11. Gunnar Haslam – Overcomplete 12. Boris Divider - Sentry 13. Der Zyklus - Formenverwandler (Shapeshifter) 14. Sound Synthesis - Neurolink Cyborg 15. E.R.P. - Ancient Light - Original Mix & Exaltics remix 16. Drexciya - Black Sea 17. Skee Mask - Calimance (Delay mix) 18. [D'Breez] - Crazy for Love (Autechre Remix) 19. Skee Mask - Muk FM 20. Aleksi Perala – NLL561606936 (CBS024LP) 21. Vosper - Behind the wheel (Depeche mode cover) 22. Model 500 - Sound Of Stereo (1987) 23. Mayan Gold - Intergalactic Traveler [Uncanny Valley] 24. E.R.P. - New road 25. Transllusion - Dimensional Glide 26. Aux 88 - Break It Down 27. E.R.P. - Noetic 28. Infiniti - Game One 29. Outro : having fun...!

Today's Bombshell (Bombshell Radio) Bombshell Radio Lynchland - David Lynch Archivist8am-9am EST2pm-3pm CEST1pm-2pm BSTbombshellradio.comRepeats 2am-3am ESTOur new mix begins with what is probably one of the most peaceful Suicide songs ever recorded, but don't let that fool you: there is darkness at every turn, from the menacing ambience of David Toop's "Black Chamber" to the abrasiveness of Minimal Man's "I Wish". Our second track, Julee Cruise's "Summer Kisses, Winter Tears", sounds very lynchian as well, but was actually recorded for the soundtrack of Wim Wenders's "Until the End of the World". Let's also mention the unheralded pop gem that is "(That's How You'll Know) When You're in Love" by Mickey Lee Lanen, the peculiar gothic synthpop of Australian duo White Ex and the haunted but catchy post-punk number of multi-instrumentist Luis Vasquez, aka The Soft Moon. The Residents close this mix with "True Love", a sublime piece of dark opera inspired by E. T. A. Hoffmann's "The Sandman".01 Suicide - Surrender02 Julee Cruise - Summer Kisses, Winter Tears03 The Soft Moon - Breathe the Fire04 Clairy Browne & The Bangin' Rackettes - Yellow Bird05 Trigg & Gusset - Last Known Spy06 White Hex - In the Night07 Jonny Greenwood - Splitter08 HTRK - Rentboy09 Transmissionary Six - Hollis & Applegate10 Mushy - Burn Me11 Mickey Lee Lane - (That's How You'll Know) When You're in Love12 David Toop - Black Chamber13 Minimal Man - I Wish14 Nicolas Jaar - Balance Her in Between Your Eyes15 The Residents - True Love

Mysteries of the Deep Podcast, Chapter CI. A Visit to the Parliament of Trees by Radere. Cover photo courtesy of Candace Price. Deep within the Green, our memories rest. May they dream. Recorded at home, April 2019. Tracklist: 1. Robert Rich + B. Lustmord, “Synergistic Perceptions” 2. David Toop, “Unspeakable Within It” 3. Stephen Cornford, “Untitled” 4. Environments, “Dusk in the Okefenokee Swamp” 5. Crys Cole + Oren Ambarchi, “Francis Debacle (Uno)” 6. Stine Janvin Motland, “The Day After” 7. Beatriz Ferreyra, “Demeures Aquatiques” 8. Michael Redolfi, “Palm Canyon” 9. Harry Bertoia, “Clear Sounds” 10. Nathan Bowles + Scott Verrastro, “Asymptotic Gravity I” 11. Alvin Curran, “Crystal Aires” 12. David Toop, “Dry Keys Echo in the Dark and Humid Early Hours” 13. Deep Listening Band, “Landgrove” 14. Duane Pitre, “Bayou Electric” 15. Environments, “Dawn in the Okefenokee Swamp” 16. McCoy Tyner, “His Blessings” https://soundcloud.com/radere

Obscure Records was a British record label created and curated by Brian Eno with the specific purpose of publishing a series of ten albums that traced the path of ambient music’s birth. The label has been active from 1975 to 1978 issuing works from artists such as Harold Budd, Michael Nyman, David Toop and the seminal Discreet Music album by Brian Eno himself. Most have detailed liner notes on their back covers, analyzing the compositions and providing a biography of the artist, in a format that is typical of classical music albums, and as a matter of fact much of the material can be regarded as 20th century contemporary music. The episode features: Penguin Cafe Orchestra, Harold Budd, John Cage, David Toop, Michael Nyman, Gavin Bryars, John Adams, Max Eastley and Brian Eno.

Alice Black, co-founder and director of the Alice Black gallery, joins us to discuss a season of performance art that’s taking over the space. We also hear from musical polymath David Toop on the occasion of the republication of his literary study into ambience, ‘Oceans of Sound’. Plus, we talk to author and writer Malachy Tallack about how his background on the Shetland Islands came to inform his latest novel.

Celebrating the 10th anniversary of the world-renowned experimental music venue, musicians, staff and volunteers tell the story of how an abandoned Dalston paint factory was transformed into a vibrant international hub of creativity. Featuring Thurston Moore, David Toop, and more

Celebrating the 10th anniversary of the world-renowned experimental music venue, musicians, staff and volunteers tell the story of how an abandoned Dalston paint factory was transformed into a vibrant international hub of creativity. Featuring Thurston Moore, David Toop, and more

This is a conversations with Sharon Gal. She is a Interdisciplinary Artist ,Vocal Experimentalist, Performer and Composer. She performs solo, and has on-going collaborations with Steve Beresford, David Toop, Steve Noble, Alex Ward, John Edwards amongst others. She directs site specific compositions/performances examining the inter-relations between people and place. She is the co-founder of arts radio Resonance 104.4.FM. I talk to her briefly before her performance at the Iklectik Horse Festival about her beginnings and collaborations and play excerpts of her music. Show Notes: People and Things mentioned: Free improv and jazz records Lana lovitch Punk Nina hagen Kate bush David bowie Mouth crazy Thurston Moore Sonic youth Byron Coley Moshi Connin Denis Austin The Klinker Hugh Metcalf Loot( the paper) Band called Voltage- Dennis and Moshi Adam Bohman Richard Sanderson and the club room Sound Out The V& A Gals with guitars Goldsmith’s_ ‘Fill The Noise’ Micro amps Sculpting in space Open call Voices in staircase Sound and Music refreshments: Water

01. The Greg Foat Group - Landscapes [Jazzman] 02. Delia Gonzalez - In Through The Light [DFA] 03. Agobun Riddim Section - Dub World [Agobun] 04. Wilfred Percussion - Andei [Spacetalk] 05. Fg's Romance - What Is Love Today? [STROOM ?] 06. Mike Fabulous - Wang East (Instrumental) [Spacetalk] 07. Chris - San Francisco Night (Instrumental) [CBS] 08. Swing Family - Mission Africa [Tele Music] 09. Akbaba Ikilisi - Seker Oglan [Uzelli] 10. The Invaders - Lost Time [Barnyard] 11. Ralph Carmichael feat. Pat Boone - The Addict's Psalm [Trunk] 12. Shocking Blue - Love Buzz [Colossus] 13. Coldcut - Sound Mirrors [Ninja Tune] 14. RJD2 - Smoke & Mirrors [RJ's Electrical Connections] 15. Greg Fox - Catching An L [Rvng Intl.] 16. Fennesz - Don't Talk (Put Your Head On My Shoulder) [Editions Mego] 17. NV - Dance [Mind Records] 18. Skúli Sverrisson - Sería [12 Tónar] 19. SsingSsing - Sashiraengyisori (Game Song) [Leeway] 20. Mr. Scruff - Shrimp [Ninja Tune] 21. David Toop & Max Eastley - Buried Dreams [Mute] 22. Pansonic - Vaihe [Blast First] 23. Chassol - Birds, Pt.1 [Tricatel]

With tracks from Kaidi Tatham, Savant, Mark Pritchard, Evenings, Blackalicious, Dark Delight, LAARS, Bambooman, Benjamin Ball, General Strike (Steve Beresford & David Toop), Modjo, Eli Escobar, Dexter Story feat. Nia Andrews, Mush, Massiande... For more info visit http://billshakes.com

The Australian sound artist discusses the body as an ear, manipulated time and the voice of David Toop.

A bank holiday special of material from our recent Japanese Playback event held at Spiritland in London, featuring the one and only Clive Bell. http://www.clivebell.co.uk/ --- CLIVE BELL is a musician, composer and writer with a specialist interest in the shakuhachi, khene and other Far Eastern wind instruments. He has travelled extensively in Japan (where he studied the shakuhachi ­ or Japanese flute with the master Kohachiro Miyata), Thailand, Laos and Bali, researching music and meeting local practitioners. In 2011 he played with Jah Wobble at Ronnie Scott’s and the Glastonbury Festival, and toured the UK with Mugenkyo Taiko drummers (contemporary Japanese drumming). Clive is the shakuhachi player on Karl Jenkins’s album Requiem on EMI Classics, and the final two Harry Potter movies. His shakuhachi playing was featured in a live solo session on Radio 3’s Late Junction, and in 2013 on Radio 3’s In Tune. A musician who regularly joins David Ross, Sylvia Hallett and Peter Cusack in improvisation duos and trios, Clive Bell has a substantial recording history as both a solo artist (his solo album, Shakuhachi: The Japanese Flute was reissued in 2005 by ARC Records) and as a composer for film, TV and theatrical productions (Complicite, IOU, Whalley Range Allstars). Kazuko Hohki, Jah Wobble, Jaki Liebezeit, Harry Beckett, Robert Lippok, David Sylvian, David Toop, Jochen Irmler of Faust, Paul Schütze and Bill Laswell number among Clive Bell’s collaborators. As a record producer, his latest release is Taeko Kunishima’s Late Autumn on 33Jazz (2011). Based in London, he writes regularly for the music monthly The Wire.

Tom Service considers the art of musical improvisation. When pianist Lenny Tristano first recorded free improvisations in 1949, his record company didn't want to release them. Today, Free Improvisation is a well-established genre. But can improvising ever be "free"? Tom discusses with musician and writer David Toop and improvising bassist Joëlle Leandre. Improvisation is a fundamental part of music-making - it even has a place in Western classical music, such as the freely invented cadenza in a piano concerto. Other musical traditions are fundamentally based in improvising, such as the classical Indian tradition, and jazz. In the 1950s, Free Improvisation developed from experiments in extending jazz, as an attempt to make music spontaneously with no reference to any style or tradition. David Toop has written a book about improvising, and Joelle Leandre has had a long career as a free improviser, playing with a wide variety of musicians around the world. But, she says, "we cannot be free...".

As part of Radio 3 live at Southbank Centre, London, Tom Service considers the strange art of recorded sound - how can a cardboard speaker cone sound exactly like all the different instruments in an orchestra? How has the availability of recording technology changed our ways of listening? What of the future, when all possible recordings seem freely available? Musician and writer David Toop joins Tom to discuss the uncanny aspects of listening to disembodied sounds.

Mysteries Of The Deep Podcast, Chapter LII. Ruins Removed by William Selman. Cover photo courtesy of Candace Price. "Exotica is the art of ruins, the ruined world of enchantment laid waste in fervid imagination, the paradox of an imperial paradise liberated from colonial intervention, a golden age recreated through the lurid colours of a cocktail glass, illusory and remote zones of pleasure and peace dreamed after the bomb." - David Toop, Exotica Tracklist: 1. Haruomi Hosono - Growth 2. Joanna Brouk - The Creative 3. Between - Syn 4. Arica - Music in the Nine Rings Pt 1 5. Douglas Leedy - Electric Zodiac 6. Donnacha Costello - Mouvement I 7. Stephan Mathieu - Statis 1 (Dallas's Dream) 8. Musique Gbáyá - Naa-koro 9. Michael Brook - Earth Floor 10. Nana Vasconcelos - Africadeus 11. Michel Redolfi - Pacific Tubular Waves 12. Joshua Abrams - Lore 13. Marcus Fischer - Constant 14. William Selman - First Remove 15. Schneider / Kacirek - Electro Electronics 16. Rosy Parlane - Willow 17. Roberto Musci - Woman of Water and Music 18. Unknown - She Doesn't Bother (from Ghost Orchid: An Introduction to EVP) 19. Zoviet France - Har Hou 20.Flying Saucer Attack - Popol Vuh 2 21. Mike Cooper - Typhoon Lagoon 22. Saule - Hola https://soundcloud.com/wselman

Curator, musician and sound artist Lawrence English founded his Room 40 label over fifteen years ago, and in the intervening years has nurtured over 150 releases in a roster that includes David Toop, Tim Hecker and Grouper and Australian figures such as Oren Ambarchi, Chris Abrahams, and Ben Frost.In a wide-ranging interview, he talks about his long-standing relationship with the city of Brisbane, his deep commitment to opening the doors to seemingly inaccessible music, and the ways in which he considers our complex and evolving relationship with sound and listening.Originally broadcast on 'Out From Under' on Resonance Extra.

The Guests: Geeta Dayal http://www.theoriginalsoundtrack.com/ Twitter:@geetadayal PATREON: www.patreon.com/geetadayal The Books: “Another Green World” by Geeta Dayal, Cabinet Magazine, “Designing Sound” by Andy Farnell, “Spaces Speak, are you listening?” by Barry Blesser, Melody Maker Magazine, David Toop, Mark Finker (spelling?), Michelangelo Matos The Music: “Sky Saw” and “Zawinul/Lava” by Brian Eno Writing: Timed writing about the music that has shaped you. #inkandworm #rfb #taodeching #geetadayal #freewriting #electronicmusic #anothergreenworld #brianeno #writing #creativity #patreon #relationships #payingartists #secretsocieties #electronicmusicians #scienceficitonwriters #aldoushuxley #raybradbury #sanfrancisco #brooklyn #india #musicalmysteries #research #editing #informedwriting #addingnewinformation #newyork #losangeles #cityenergy #makingmusic #obliquestrategiesdeck #creatives #thecreativeprocess #playfulcreativity #firstdraftsarecrap #throwsomethingatthewall #somethingwillstick #controledartdoesntwork #organicart #connectingideas #davidbowie #princetonrecordexchange #writinglonghand #neilgaiman #writingprocess #socialmedia

Dan Jones, composer and sound designer, considers why it has taken so long for Sound Art to get a hearing, he goes hunting for sound at CERN with Bill Fontana, Janet Cardiff talks about her 40 part Motet, Barbara London, MOMA curator, tells of the difficulties of displaying sound, Stan Shaff shows us round the first sound theatre, and David Toop and Richard Cork help untangle the history of sound art - plus an unexpected appearance on the streets of London by Joseph Young expounding the Art of Noises Manifesto of the Italian Futurists.

  Rare Frequency Podcast 54: On and on 1 COH, "Helicon" To Beat (Editions Mego) 2014 CD Time: 00:00-06:18 2 Driftmachine, "To Nowhere, pt. 2" Nocturnes (Umor Rex) 2014 LP Time: 06:18-11:32 3 Foom, "Abstract Communications" No Fidelity Audio (No Fidelity Audio) 1998 CD Time: 11:32-21:02 4 Andrea Parker and Daz Quayle reinterpreting Daphne Oram, "Frightened of Myself" Private Dreams and Public Nightmares (Aperture) 2014 CD Time: 21:02-34:35 5 El g, "Grand Huit" La Chimie (SDZ) 2013 LP Time: 34:35-37:46 6 David Toop, "Silver Birds" Mondo Black Chameleon (Sub Rosa) 2014 CD Time: 37:45-40:04 7 Thomas Tilly, "Unidentified Insects Colony" Script Geometry (Aposiopese) 2014 2LP Time: 40:00-48:52 8 Fennesz, "The Liar" Becs (Editions Mego) CD 2014Time: 48:38-53:11 9 Dino Spiluttini, "Anxiety" Modular Anxiety (Umor Rex) LP 2014 Time: 53:02-58:02 10 Devo, "Booji Boy’s Funeral" Hardcore Devo, Vol. 2 (Rykodisc) CD 2013 Time: 59:25-end

Sound artist Kaffe Matthews on Alvin Lucier’s I am sitting in a room and how it’s provided an inspiration for her own work in the field of site specific music; David Toop explains how the piece explores both the acoustic properties of enclosed spaces and the complexities of the human voice; and we hear from the composer himself about his approach to live performance.

Gavin Bryars's mould-breaking 1971 score Jesus' Blood Never Failed Me Yet is a work which came about almost accidentally, when Bryars found a recording of an elderly homeless man singing lines from a Victorian hymn. Cultural historian Robert Hewison makes the case for why the work is important, and commentary comes from author and musician David Toop.

Writer and musician David Toop celebrates Toru Takemitsu's soundtrack for Masaki Kobayashi's 1964 chiller Kwaidan, based on Lefcadio Hearn's retelling of Japanese ghost stories; film scholar Peter Grilli describes how the composer worked closely with the director and recording technicians to create a soundworld that was integral to the drama of the film.

David Toop is a composer of sound, writer about sound, curator of sound and research fellow at the London College of Communication. His works in text include Ocean of Sound, Exotica, Haunted Weather and the Rap Attack books. His latest is Sinister Resonance: The Mediumship of the Listener, which explores the sound of silent art. David Toop’s web site David Toop’s books, Rap Attack, No. 3: African Rap to Global Hip Hop, Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds, Exotica, Haunted Weather: Music, Silence and Memory (Five Star Fiction S.) and Sinister Resonance: The Mediumship of the ListenerAmerican writer Edgar Allan Poe (1809-1849)English writer Charles Dickens (1812-1870)Oren Peli’s film Paranormal Activity (2009)Dutch painter Nicholaes Maes and his Eavesdropper paintingsIrish painter Francis Bacon (1909-1992)English novelist Algernon Blackwood (1869-1951)Scottish novelist John Buchan (1875-1940)English writer Virginia Woolf (1882-1941)Irish writer James Joyce and his novel Ulysses (1882-1941)Irish writer Samuel Beckett (1906-1989)German electronic band Kratfwerk

Programme Carl Stone pour websynradio : Sexcha - Sonambulations By Ros Bobos Ros Bobos - Lost Signals And Drifting Satellites - Lost Signals And Drifting Satellites by George Kentros and Annie Gosfield - Darkness Moves - Vibro 01 - David Toop ...

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