Podcasts about Important Records

In this occasional series exploring modular synthesis and live performance, William Stokes talks to Tony Rolando, electronic musician and founder of modular company Make Noise. Tony talks about his beginnings in the industry and how Make Noise has relaunched in 2025 with a new team and a brand new module release, which he then showcases in an exclusive performance alongside four additional modules.Chapters00:00 - Introduction05:22 - Creating Social Media Posts12:10 - Recent Innovations In Modular14:02 - Revisioning Jettisoned Music Technology21:08 - Module 1: Maths 30:17 - Module 2: Morphagene47:42 - Module 3: Qpas 57:57 - Module 4: Bruxa01:12:52 - Module 5: New Universal Synthesizer System01:27:40 - The PerformanceTony Rolando BiogTony Rolando is a self-taught musician and electronic musical instrument designer who started his career building electronics for artists, such as the light controlled mixer for Simon Lee's “Bus Obscura,” working for Moog Music and playing in bands. He has recently released music with Important Records and the Asheville, NC based Ceremony of Seasons.Tony is the founder, lead designer and co-owner of Make Noise, a modular synth company launched in 2008, known for modules such as the Morphagene and 0-Coast, popular with artists like Thom Yorke and Robert Lowe, aka Lichens. They operate out of Asheville, NC and have global distribution through a number of music tech dealers.https://tonyrolando.bandcamp.com/www.makenoisemusic.comWilliam Stokes BiogWilliam Stokes is a producer, writer and artist in three-piece avant-psych band Voka Gentle. As well as being a critic and columnist for Sound On Sound, conceiving the popular Talkback column and heading up the Modular column, he has also written on music and music technology for The Guardian, MOJO, The Financial Times, Electronic Sound and more. As an artist in Voka Gentle he has made records with producers from Gareth Jones (Depeche Mode, Grizzly Bear, Nick Cave) to Sam Petts-Davies (Radiohead, The Smile, Roger Waters), has had songs featured on franchises from FIFA Football to The Sims and has toured across the UK, Europe and the USA, playing festivals from Pitchfork Avant-Garde in Paris to SXSW in Austin, Texas. He has collaborated with artists including the Flaming Lips' Wayne Coyne, Morcheeba, Panda Bear and Sonic Boom. Alongside being a guitarist and pianist, he is a synthesis enthusiast with a particular interest in sampling and explorative sound manipulation. As a producer and engineer, he has made albums with acclaimed avant-garde musicians from composer Tullis Rennie to Mute Records artist Louis Carnell. “I'm always seeking out the most ‘out-there', experimental, risk-taking musicians I can find to work with,” he says, “to capture vibrant, detailed recordings and create three-dimensional mixes of music that might otherwise struggle to know where to begin in the studio environment.” Stokes currently lectures in Music Production at City, University of London.https://www.vokagentle.com/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Negativland has always been about media literacy; their pranks are not only humorous but reveal something about how media function. But in recent years, as the world has changed around them, their  relationship to this aspect of their practice has had to evolve. What was subversive in the 80s is mostly met with a shrug today. While sampling has become less essential to their work, the group continues to reappropriate and recontextualize human speech, and in an age of AI voice clones, the importance of using actual voices becomes even more significant. Last fall, I sat down with Negativland's Mark Hosler and Jon Leidecker (Wobbly) at Krakow, Poland's Unsound festival to discuss the history of their long running group, the importance of radio, and how the changing mediascape has transformed the meaning of their work as collage has gone mainstream. TRACKLIST ARTIST – “TITLE” (ALBUM, LABEL, YEAR) Negativland - “Is It Or Isn't It” (Speech Free: Recorded Music For Film, Radio, Internet and Television, Seeland, 2022) SP INTRO Don Joyce - “We'll Be Right Back [excerpt]” (Mort Aux Vaches, Mort Aux Vaches,  2020)Negativland - “Content” - (The World Will Decide, Seeland, 2020) Negativland - “5” (Negativland, Seeland, 1980)Negativland - “The Answer Is…” (Points, Seeland, 1981) Negativland - “Christianity is Stupid” (Escape from Noise, SST/Seeland, 1987) New Order - “Blue Monday” (Blue Monday 12”, Factory, 1983) Negativland - “I Still Haven't Found What I'm Looking For” (U2, Seeland, SST, 1991)Sarah Davachi - “ghosts and all” (Vergers, Important Records 2016) iPad Synth demo youtube Ipad Synth or Original IVCS3 compared to EMS Synthi AKS Negativland - “[Excerpt]” (Live at Unsound, 2023) Edgard Varèse  - “Poème électronique” [1958] (Poème Electronique And Other Selections, EAV Lexington, 1973) Karlheinz Stockhausen  - “Kontakte” [1958–60] (Kontakte, WERGO, 1963)Wobbly - Failure Analyst (Failure Analyst, Bandcamp, 2024)Christian Marclay - “Excerpt” (Live on Night Music 1988)Charli - “Apple” [tiktok] (brat, 2024)Negativland - “Failure” (The World Will Decide, Seeland,2020)Negativland - “True or False” (True False, Seeland, 2019) Negativland - “The Stain of Music”  (Over The Edge Vol. 9: The Chopping Channel, Seeland, 2016)Negativland - “Death Is Optional” (Speech Free: Recorded Music For Film, Radio, Internet and Television, Seeland, 2022)Negativland - “I Still Haven't Found What I'm Looking For” (U2, Seeland, SST, 1991)Negativland - “Algorithmic Me” (Speech Free: Recorded Music For Film, Radio, Internet and Television, Seeland, 2022) Chopping Channel - “Happiness Is The New Productivity” (Independent Therapy, 2016) Bana Haffar - “Castles in Beirut” (Castles in Beirut, Bandcamp, 2019) Negativland - “The World Will Decide” (The World Will Decide, Bandcamp, 2020) Over the Edge - “1991/06/06” (The Best of Over the Edge, Archive.org, 6 June 1991) E L U C I D  - “[excerpt]” [2020] (SEERSHIP!, PTP, 2022) Ween - “I Hate Morrissey (Home Demo)” (Boognish Rising 2013 Sampler, 2013) Negativland - “A Nice Place To Live” (Points, Seeland, 1981) Chopping Channel - “Safe Place Orientation” (Independent Therapy, Seeland, 2016) Don Joyce - “We'll Be Right Back [excerpt]” (Mort Aux Vaches, Mort Aux Vaches,  2020) —-Sound Propositions is written, recorded, mixed, and produced by Joseph Sannicandro. --- Support this podcast: https://podcasters.spotify.com/pod/show/soundpropositions/support

La historia de la música no depara un lugar de importancia a esta manifestación sonora hasta 1913, año del manifiesto de Russolo que preconiza los intonarumori o máquinas de ruido. Mucho más tarde despierta el ruidismo en Japón y en la escena del rock alternativo._____Has escuchadoAn Anthology of Noise & Electronic Music. Third A-Chronology 1952-2004 / Peter Rehberg (Pita). Sub Rosa (2004)Doing by not doing: [Iannis Xenakis. Persepolis + Remixes. Edition I] / Zbigniew Karkowski. Asphodel (2002)Acid Bath, Drip Bones: [Ju-Jikan: 10 Hours of Sound from Japan] / Pain Jerk. 23five; San Francisco Museum of Modern Art (2002)“Luigi Russolo, Intonarumoris, 1913”. YouTube Vídeo. Publicado por david rato, 1 de julio de 2012: [Vídeo]Minazo Volume 1. Voices from the Sea / Merzbow (Masami Akita). Important Records (2006)_____Selección bibliográficaARIZA, Javier, “El ruidismo en el cine. La expansión del universo acústico en imágenes”. En: El sonido de la velocidad: cine y música electrónica. Editado por Pablo G. Polite y Sergi Sánchez Martí. Alpha Decay, 2011ATTALI, Jacques, Ruidos: ensayo sobre la economía política de la música. Traducción de Federico Álvarez. Siglo Veintiuno Editores, 1995ATTON, Chris, “Fan Discourse and the Construction of Noise Music as a Genre”. Journal of Popular  Music Studies, vol. 23, n.º 3 (2011), pp. 324-342BAILEY, Thomas Bey William, Micro-Bionic: Radical Electronic Music and Sound Art in the 21st Century. Creation Books, 2009*BIJSTERVELD, Karin, Mechanical Sound: Technology, Culture, and Public Problems of Noise in the Twentieth Century. The MIT Press, 2008BROWN, Barclay, “The Noise Instruments of Luigi Russolo”. Perspectives of New Music, vol. 20, n.º 1-2 (1981), pp. 31-48*CUSICK, Suzanne, “‘You Are in a Place That Is Out of the World…': Music in the Detention Camps of the Global War on Terror”. Journal of the Society for American Music, vol. 2 (2008), pp. 1-26*DEMERS, Joanna, Listening through the Noise: The Aesthetics of Experimental Electronic Music. Oxford University Press, 2010*DOLAN, Daniel, “Cultural Noise: Amplified Sound, Freedom of Expression and Privacy Rights in Japan”. International Journal of Communication, vol. 2 (2008), pp. 662-690FRIEDL, Reinhold, “Some Sadomasochistic Aspects of Musical Pleasure”. Leonardo Music Journal, vol. 12 (2002), pp. 29-30*GODDARD, Michael, Benjamin Halligan y Nicola Spelman (eds.), Resonances: Noise and Contemporary Music. Bloomsbury, 2013GRAHAM, Stephen, “Noise as Concept, History, and Scene”. En: Sounds of the Underground: A Cultural, Political and Aesthetic Mapping of Underground and Fringe Music. University of Michigan Press, 2016HEGARTY, Paul, Noise/music: a History. Continuum, 2007*ILES, Anthony et al., Ruido y capitalismo. Arteleku, 2011*KAHN, Douglas, Noise Water Meat: A History of Sound in the Arts. The MIT Press, 1999*KELLEY, Caleb, Cracked Media: The Sound of Malfunction. The MIT Press, 2009NOVAK, David, Japanoise: Music at the Edge of Circulation. Duke University Press, 2013ROSELL, Oriol, Un cortocircuito formidable: de los Kinks a Merzbow: un continuum del ruido. Alpha Decay, 2024*ROSS, Alex, El ruido eterno: escuchar al siglo XX a través de su música. Seix Barral, 2010*SCHWARTZ, Hillel, Making Noise: From Babel to the Big Bang and Beyond. Zone, 2011SIM, Stuart, Manifesto for Silence: Confronting the Politics and Culture of Noise. Edinburgh University Press, 2007VENN, Edward, “Rethinking Russolo”. Tempo, vol. 64, n.º 251 (2010), pp. 8-16*VOEGELIN, Salome, Listening to Noise and Silence: Towards a Philosophy of Sound Art. Continuum, 2010* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Gabriele Gasparotti è un valido artista le cui proposte si muovono tra elementi di elettronica ambient e cosmica unita a richiami di musica contemporanea, un bel connubio che si può gustare nel suo secondo album “Tropismi”, edito da Important Records e Dio Drone. Nella sua proposta si possono cogliere echi di Tangerine Dream, Arvo Part

Los orígenes del sintetizador musical—instrumento electrónico que funciona mediante la manipulación de corrientes eléctricas, que modula las ondas produciendo diferentes timbres—nos llevan a finales del siglo XIX, momento en que se descubre la generación de sonido a través de la vibración de un circuito electromagnético._____Has escuchadoBlues Mix (1966) / Joel Chadabe. Realizado con un Moog modular. Waveshaper Media (2019)Chaotic Synthesis Recording #3 / Jason R. Burcher. Realizado con un Buchla 200. Autoedición (2010)Figueroa Terrace / Thomas Ankersmit. Realizado con un Serge Modular. Touch (2014)This Causes Consciousness to Fracture (en Patterns of Consciousness) / Caterina Barbieri. Realizado con un Eurorack modular. Important Records (2017)_____Selección bibliográficaBERNSTEIN, David W., The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde. University of California Press, 2008*DE WILDE, Laurent, Les fous du son: d'Edison à nos jours. Bernard Grasset, 2016*DIDUCK, Ryan Alexander, Mad Skills: MIDI and Music Technology in the Twentieth Century. Repeater Books, 2018*FREKE, Oli, Synthesizer Evolution: From Analogue to Digital (and Back). Velocity Press, 2020GLINSKY, Albert, Switched On: Bob Moog and the Synthesizer Revolution. Oxford University Press, 2022*HENNION, Antoine y Christophe Levaux, Rethinking Music through Science and Technology Studies. Routledge, 2021*JENKINS, Mark, Analog Synthesizers: Understanding Performing Buying from the Legacy of Moog to Software Synthesis. Routledge, 2020O'CONNOR, Neil, Dark Waves: The Synthesizer and the Dystopian Sound of Britain (1977-80). Rowman & Littlefield, 2023PATTESON, Thomas, Instruments for New Music: Sound, Technology and Modernism. University of California Press, 2015*PEJROLO, Andrea y Scott B Metcalfe, Creating Sounds from Scratch: A Practical Guide to Music Synthesis for Producers and Composers. Oxford University Press, 2017STRANGE, Allen, Electronic Music: Systems, Techniques and Controls. McGraw-Hill, 1983TARA, Rodgers, Pink Noises: Women on Electronic Music and Sound. Duke University Press, 2010*VAIL, Mark, The Synthesizer: a Comprehensive Guide to Understanding, Programming, Playing, and Recording the Ultimate Electronic Music Instrument. Oxford University Press, 2014WILSON, Nick, Interpreting the Synthesizer: Meaning through Sonics. Cambridge Scholars Publishing, 2020 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Episode 129 Women Synthesists Playlist Time Track Time Start Introduction –Thom Holmes 04:36 00:00 Eliane Radigue, “Transamorem – Transmortem” (excerpt) from Transamorem – Transmortem (2011 Important Records). Composed in 1973 for ARP 2500 modular synthesizer. Music of slowly changing drones using the marvelous ARP synthesizer, which was Radigue's key instrument for years after having experimented with Moog and Buchla modulars. 39:29 04:40 Caroline K, “The Happening World” from Now Wait For Last Year (1987 Earthly Delights). Caroline was a co-founder of Nocturnal Emissions, together with Nigel Ayers, in 1980. Arranged By, Recorded By, Producer, Composed By, Performer, Caroline K. Executive-Producer, Nigel Ayers. Drones of a different ilk. Noisy sounds, steady articulation, interesting timbres popping in and out. Sonically articulate. 20:49 44:03 Pauline Anna Strom, “Organized Confusion” from Plot Zero (1987 Trans-Millenia Consort Recordings). Pauline Anna Strom was a decades-long composer, musician and healer who lived and worked in San Francisco, CA. Pioneering blind synthesist. Music composed, synthesized, electronic treatments by Pauline Anna Strom. Strom taught herself to compose intuitively, practicing sounds with her various synthesizers, which included a Yamaha DX7, Prophet 10, two Yamaha CS1X portable keyboards and an E-mu Emulator. When she was ready to record, she laid it down using a Tascam four-track recorder and assembled her albums using a computer workstation. Early days for both the sampler and workstation. 06:04 1:04:48 Pauline Anna Strom, “Spacial Spectre” from Spectre (1984 Trans-Millenia Consort Recordings). Composed, synthesized, and electronic treatments by Pauline Anna Strom. From her vampire-inspired album. 06:58 1:10:51 Pauline Anna Strom, “Blood Thirst” from Spectre (1984 Trans-Millenia Consort Recordings). Composed, synthesized, and electronic treatments by Pauline Anna Strom. From her vampire-inspired album. 07:23 1:17:40 Maryanne Amacher, “"Head Rhythm 1" And "Plaything 2" from Sound Characters (Making The Third Ear) (1999 Tzadik). Electroacoustic composer of sound installations, best known for her incorporation of otoacoustic emissions -- sounds that seem to be emanating from inside one's own head. This track plays with that concept and sets your brain up to experience itself, so to speak. 10:04 1:25:04 Caterina Barbieri. “This Causes Consciousness To Fracture” from Patterns Of Consciousness (2017 Important Records).  Italian composer and musician from Bologna. This album was created using analog synthesis. Barbieri has said, “In Patterns of Consciousness I was interested in exploring the power of sound on our consciousness. I wanted to explore how a pattern creates a certain state of consciousness and how the gradual transformation of that pattern can affect that state of consciousness. I believe that sound is a tool for the exploration, reconfiguration and expansion of human perceptions.” I find this to be in a similar psychological vein as the Amacher work also heard in this episode. 22:44 1:34:56 QOA (Nina Corti), “Sauco” (04:22), “Liquen” (02:50), “Yatei” (03:04), “Muitu” (03:16) from SAUCO (2024 Leaving Records). Side 1 of the newest release from this composer-performer from Argentina. “Sonic journey crafted to cultivate poetic gestures amidst Fauna, Flora, Fungi, Mineral Waters, Wind, and Earth. Each track is an exploration of sound's constant transformation, akin to dragonfly particles swimming in the air. Like waves occupying a space in the spectrum, the compositions work with the movement, condensation, and lightness of the air.” 13:33 1:57:38 Opening background music: Pauline Anna Strom, “The Unveiling” from Trans-Millenia Consort (1982 Ether Ship Records). Her first cassette release from 1982. Composed and performed on synthesizer by Pauline Anna Strom. (06:04)   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

“Pauline Oliveros es un ser humano de dos piernas, mujer, lesbiana, músico, compositora y otras cosas que contribuyen a su identidad”, según la propia definición de la co-fundadora del San Francisco Tape Music Centery creadora del concepto “Deeplistening”._____Has escuchadoA Love Song (1984). Pauline Oliveros, acordeón, electrónica; Barbara Noska, voz; Guy Klucevsek, acordeón; Charles Forbes, violonchelo, [et al] . hat ART (1985)Electronic Work. I of IV (1966). Paradigm Discs (2006)Tara's Room (1986). Pauline Oliveros, acordeón en afinación justa, sistema instrumental expandido. Important Records (2019)_____Selección bibliográficaANDERSEN, Drake, “Spaces for People: Technology, Improvisation and Social Interaction in the Music of Pauline Oliveros”. Organised Sound, vol. 22, n.º 2 (2022), pp. 1-8*ARCANGEL, Cory y Pauline Oliveros, “Pauline Oliveros”. BOMB, n.º 107 (2009), pp. 84-89*GORDON, Theodore, “‘Androgynous Music': Pauline Oliveros's Early Cybernetic Improvisation”. Contemporary Music Review, vol. 40, n.º 4 (2021), pp. 386-408GREY, Louise, “The Primer. The Music and Philosophies of Pauline Oliveros”. The Wire, n.º 460 (2022), pp. 28-85KAHN, Douglas, Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts. University of California Press, 2013LOVELESS, Stephanie (ed.), A Year of Deep Listening: 365 Text Scores for Pauline Oliveros. Terra Nova Press, 2024MOCKUS, Martha, Sounding Out: Pauline Oliveros and Lesbian Musicality. Routledge, 2011OLIVEROS, Pauline, “Auralizing in the Sonosphere: Vocabulary for Inner Sound and Sounding”. The Journal of Visual Culture, vol. 11, n.º 2 (2011), pp. 162-168—, Anthology of Text Scores by Pauline Oliveros 1971-2013. Deep Listening Publications, 2013—, “Sonar en los límites”. Cuadernos de Música, Artes Visuales y Artes Escénicas, vol. 14, n.º 1 (2019), pp. 155-162—, Deep Listening . Una práctica para la composición sonora. EdictOràlia, 2019*—, Sonic Meditations. Ministry of Maat, 2022 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Su aceptación para la Historia del Arte es complicada: la arquitectura de museos y salas no está concebida para la experiencia de escucha. Comprende instalación sonora, escultura interactiva, poesía experimental, fonografía, y sobre todo, la prevalencia de la escucha y el sonido sobre el hecho artístico._____Has escuchadoDedicatorias. Infinito Infinity (19/5/2013-10/11/2014) / José Iges. María de Alvear World Edition (2016)El ojo del silencio / José Antonio Sarmiento. [Grabación de la acción e instalación sonora para 100 radio transistores]. Centro de Creación Experimental (2000)Guitar Drag / Christian Marclay. [Banda sonora del vídeo Guitar Drag, 2000. Grabado en San Antonio, Texas, el 18 de noviembre de 1999]. Neon (2006)Irregularity / Homogeneity: Emerging from the Perturbation / Minoru Sato. [Instalación sonora]. Senufo Editions (2012)Magnetic Flights (2007) / Christina Kubisch. [Instalación sonora]. Important Records (2021)Motores / Isidoro Valcárcel Medina. [Obra sonora]. Ediciones sonoras experimentales; Radio Fontana Mix (1973)Small Music. Musik für einen fast leeren Raum / Music for an almost Empty Space (Edition VIII) / Rolf Julius. [Instalación sonora]. Autoedición (1998)_____Selección bibliográficaADEN, Maike (ed.), Disonata: arte en sonido hasta 1980. Museo Nacional Centro de Arte Reina Sofía, 2020ÁLVAREZ-FERNÁNDEZ, Miguel, “Panorama del arte sonoro y la música experimental en la península ibérica”. En: Experimentaclub Limbo: proyecto iberoamericano de intercambio artístico y cooperación cultural. Editado por Jorge Haro y Javier Piñango. Experimentaclub LIMbO (2010), pp. 54-64—, “Sonido, musicología, archivo: tres genealogías (hacia un catálogo de arte sonoro)”. Boletín DM, año 16 (2012), pp. 62-69*ARIZA, Javier, Las imágenes del sonido: una lectura plurisensorial en el arte del siglo XX. Universidad de Castilla-La Mancha, 2003*ASHER, Michael, Writings 1973-1983 on Works 1969-1979. Editado por Benjamin H. D. Buchloh. Press of the Nova Scotia College of Art and Design; The Museum of Contemporary Art, 1983*BARBER, Llorenç y Monserrat Palacios, La mosca tras la oreja. De la música experimental al arte sonoro en España. Fundación Autor, 2009*COSTA, José Manuel (ed.), ARTe SONoro. La Casa Encendida, 2010*CUYÁS, José Díaz, Carmen Pardo y Esteban Pujals (eds.), Encuentros de Pamplona 1972: fin de fiesta del arte experimental. Museo Nacional Centro de Arte Reina Sofía, 2009*DE LA MOTTE-HABER, Helga, Matthias Osterwold y Georg Weckwerth (eds.), Sonambiente Berlin 2006. Kehrer Verlag, 2006DEWEY, Fred et al. Brandon Labelle: Overheard and Interrupted. Les Presses du Réel, 2016*ESPEJO, José Luis (ed.), Escucha, por favor: 13 textos sobre sonido para el arte reciente. Exit Publicaciones, 2019*ESPEJO, José Luis y Óscar Martín (eds.), Ursonate: revista de arte sonoro y culturas aurales (2011-)*ETIENNE, Yvan, Bertrand Gauguet y Matthieu Saladin (eds.), “De l'espace sonore = From Sound Space”. TACET: Sound in the Arts, n.º 3 (2014)FONTÁN DEL JUNCO, Manuel, José Iges y José Luis Maire (eds.), Escuchar con los ojos. Arte sonoro en España, 1961-2016. Fundación Juan March, 2016*GARCÍA FERNÁNDEZ, Isaac Diego, Conversaciones en Nueva York: sobre arte sonoro, música experimental e identidad latina. EdictOràlia, 2020*GRANT, Jane, John Matthias y David Prior (eds.), The Oxford Handbook of Sound Art. Oxford University Press, 2021*HEGARTY, Paul, Noise/Music: A History. Continuum, 2007*—, Rumour and Radiation: Sound in Video Art. Bloomsbury, 2015*IGES, José et al., MASE. Historia y presencia del Arte Sonoro en España. Bandaàparte Editores, 2015*—, “Dimensión sonora de la escritura”. Arte y Parte, n.º 117 (2015), pp. 8-27*—, Conferencias sobre arte sonoro. Árdora Ediciones, 2017*JIMÉNEZ CARMONA, Susana y Carmen Pardo, “Aperturas y derivas del arte sonoro”. Laocoonte: revista de estética y teoría de las artes, n.º 8 (2021), pp. 49-56JOSEPH, Branden W., Beyond the Dream Syndicate: Tony Conrad and the Arts After John Cage. Zone Books, 2008*JOY, Jérôme y Peter Sinclair, Locus Sonus: 10 ans d'expérimentations en art sonore. Le Mot et le Reste, 2015*KAHN, Douglas, Noise Water Meat. A History of Sound in the Arts. The MIT Press, 1999*KELLY, Caleb (ed.), Sound. Documents of Contemporary Art. The MIT Press, 2011*KIM-COHEN, Seth, In the Blink of an Ear: Toward a Non-Cochlear Sonic Art. Continuum, 2009*KOTZ, Liz, Words to Be Looked At. Language in 1960s Art. The MIT Press, 2007*LABELLE, Brandon, Background Noise. Perspectives on Sound Art. Bloomsbury, 2006*—, “Short Circuit: Sound Art and The Museum”. Journal BOL, n.º 6 (2007), pp. 155-175—, Acoustic Territories: Sound Culture and Everyday Life. Continuum, 2010*LABELLE, Brandon y Christof Migone (eds.), Writing Aloud: The Sonics of Language. Errant Bodies Press, 2001*LICHT, Alan, Sound Art: Beyond Music, Between Categories. Rizzoli International Publications, 2007*MADERUELO, Javier, “The Book of i's, de José Luis Castillejo”. Arte y Parte, n.º 108 (2013), pp. 98-115*MAIRE, José Luis, “Documentar el sonido: consideraciones sobre la documentación musical, la música experimental y el arte sonoro”. Boletín DM, año 16 (2012), pp. 73-84*—, “Espacio resonante e instalación sonora: Robert Morris, Michael Asher, Bill Viola, Terry Fox”. Arte y Parte, n.º 117 (2015), pp. 64-85*MOLINA ALARCÓN, Miguel, “El arte sonoro”. Itamar: revista de investigación musical: territorios para el arte, n.º 1 (2008), pp. 213-234*MUNÁRRIZ, Jaime (ed.), Encuentros sonoros: música experimental y arte sonoro. Facultad de Bellas Artes, UCM, 2021*NEUHAUS, Max, Max Neuhaus. Sound Works. Cantz Verlag, 1994*PARDO, Carmen, “Avatares de la ciudad musical”. Quodlibet: Revista de Especialización Musical, n.º 68 (2018), pp. 64-78*ROCHA ITURBIDE, Manuel, “La curaduría, el arte sonoro y la intermedia en México”. Itamar: revista de investigación musical: territorios del arte, n.º 5 (2019), pp. 162-186*SALADIN, Matthieu (ed.), “Sounds of Utopia = Sonorités de l'utopie”. TACET: Sound in the arts, n.º 4 (2015)*SARMIENTO, José Antonio, La música del vinilo. Centro de Creación Experimental de la Universidad de Castilla-La Mancha, 2010*SEIFFARTH, Carsten, Carsten Stabenow y Golo Föllmer (eds.). Sound Exchange: Experimentelle Musikkulturen in Mittelosteuropa = Experimental Music Cultures in Central and Eastern Europe. Pfau, 2012SOLOMOS, Makis, Exploring the Ecologies of Music and Sound: Environmental, Mental and Social Ecologies in Music, Sound Art and Artivisms. Routledge, 2023*TOOP, David, Inflamed Invisible: Collected Writings on Art and Sound, 1976-2018. Goldsmiths Press, 2019*VOEGELIN, Salomé, Listening to Noise and Silence. Towards a Philosophy of Sound Art. Continuum, 2010*WANG, Jing, Half Sound, Half Philosophy: Aesthetics...

As with all past ‘Reflection' year-end mixes, I start with a collection of albums, EPs, and compilations I have enjoyed over the past year. Through the process of compiling a mix, tracks are selected from this extensive collection. This ultimately means many of my favorite tracks and albums are often omitted in this process, due to the organic process of compiling a mix, things don't fit, or fall by the wayside. There are many albums I had on high rotation missing from this mix, but I have to stop somewhere. As I say every year, this isn't a definitive ‘best-of' list, but a selection of *some* of my favorite music from the year in one listenable format. It's the most enjoyable way for me to boil down the music I've loved from the year using these self-imposed restrictions, for you to enjoy and hopefully discover more, and for me to reflect on time and time again - like a photograph that captures the year in music. I encourage you to use the mix to explore each artist, listen to the album in full, and explore each label (and check the Buy Music Club list at the bottom). If you want to see the majority of music I've been supporting this year, head over to my Bandcamp collection. For the ASIP year-end label compilation, see the feature and mix here.~Yikes, I crossed the 3-hour mark! Well, that speaks volumes to the amount of great music that was released this year, and I'm already feeling guilty about omissions from this mix. But alas, it needs to stop somewhere, the Holiday's are coming… This edition marks the tenth year in succession (2010 was the first mix but I skipped doing this for two years for some reason) and it is an extremely enjoyable exercise I look forward to every year. Revisiting many of the albums I've purchased throughout the year, and records from my shelf, then taking the time to absorb more recent releases - the process is cathartic (after the slight anxiety that builds knowing I have a beast of a mix to tackle, and hard decisions to be made). Looking back at previous Reflection mixes, I am evidently a creature of habit and seem to gravitate to certain artists more than most over the years (we all have our faves), but I also take a lot of time to dig for new artists and approaches to music in this realm, and this year's edition is probably the most varied in music styles since the Reflection series began. Ambient, field recordings, drone (Power-ambient, even), big saxophones (the flute revival didn't make it ;-), Japanese left-field pop, deep techno, chugging techno, modern classical, experimental, jungle, breaks, dub and more… as you might imagine, this is a 3hr mix that feels more like a showcase than a DJ mix in the traditional sense, as I'm focusing on creating chapters of different styles, but I hope makes for an attentive listen if you've got 3hrs to spare. Am I going to write about all 42 tracks? Not this time, as I don't think there's much I can illustrate other than ‘go listen to that entire album!' but I will make a few observations on themes that emerged as I was going through this process. Firstly, the far corners of Bandcamp are very much alive, so for anyone looking for alternatives given all the talk with Bandcamp this year, please don't hit the escape button and continue to support us- I continued to find so many new labels and artists, some of which are included here such as Liis Ring, Etüüd, ǝɯǝɐ, Azu Tiwaline and not to forget a kick-ass Jungle community throwing out some lovely 90's infused comps. Bandcamp keeps small labels and artists alive right now (only two of these tracks were physical releases and not on Bandcamp - #19 & #42). I spent a lot of time listening to music that would work for the two shows I played in Japan earlier this year, and for those who listened back to one of the sets I posted, you may notice a few similar tracks/artists appearing here again which I've held in high regard since their release, such as Jo Johnson, Field Lines Cartographer and Endurance. On reflection, there was a lot of deepness for me this year that came from preparing for and inspired by those sets, sitting on the edges of techno with lots of synthesizer/Berlin school projects (as well as a couple of artists I got to see in person whilst over there such as Yolabmi and Endurance).There were a couple of glaring omissions from this mix (*checks Bandcamp app most played*) which I had on rotation so much this year that I still wanted to mention, such as Imaginary Softwoods, who was behind one of my favorite tracks of the year, ‘Diagrams of the Universe'. Along with Johnny Nash's Point of Entry - a tranquil guitar-laden affair, both of which never left my turntable for long.The ever-expanding ASIP roster of artists, both alumni and current, had an extremely busy year evidently (I try to restrict their inclusions in this mix where I can otherwise it could be an entire ASIP promo show… hey that's an idea…). bvdub released about ~10 masterpieces, as only he can, flaunting all possible peripherals in his deep arsenal (along with rounding out the Earth House Hold project with us of course). ASC was crazy busy with his quality retro Spatial DnB releases (one of them made it in here). For those who enjoyed Alex Albrecht's debut with us, don't miss his earlier 2023 release. Deepchild released another great textured follow-up to his ASIP debut for those wanting more. 36 continued some rave-esque ambient no doubt inspired by his 9128 recording a few years back. Markus Guentner began an exciting collab project with Joachim Spieth (and also appeared in several other collaborations). RAI kept things relatively reflective with a few Bandcamp specials and recordings from his live tour. Benoit Pîoulard made a beautiful return to Morr Music, and Christian Kleine rounded out the year with a limited vinyl press. Those needing more from our 2023 new signing Mikkel Rev, can check out his earlier album released in January this year. James Bernard had a busy year alongside his wife as Awakened Souls, and found more 90's DAT goodness among many other projects. Mick Chillage released a superb sleeper IDM album in the form of Initial Programs. Dr Atmo's throwback to his early sounds saw a rebirth of one of his most enjoyed albums alongside new remixes. Wanderwelle made their second full-length odyssey for Important Records and Yagya continued to explore uncharted new takes on his sound through his new label imprint. Scanner's innovative repertoire continued to expand and one of my faves of his came in the form of this collab. Hior Chronik published a couple of unreleased gems. And lastly, Ludvig Cimbrelius aka Purl/Illuvia and Arovane managed to sneak onto this mix with a couple of their releases… Two labels who hit home runs for me this year with the majority of their releases. Illian Tape had some extremely great (and varied) electronic releases. And while Mysteries of the Deep's output was relatively choice (quality over quantity), 3 out of the 4 releases made it onto the mix! There are a couple of tracks in the mix from albums that align with what seems to be, the common consensus on some of the ‘best' electronic releases from the year (one of the advantages of my waiting until mid-December to finish this mix is I see what other people are rating highly or what I might've missed) such as James Holden's psychedelic return, and Purelink's amphibious dub LP. But other than those two, I think everyone should find something new among the twists and turns across the 3 hours and 42 tracks.For the mix artwork this year, and after last year's terribly basic AI take (it's come a long way in a year!), I toyed with creating another AI attempt on a “A Strangely Isolated Place” prompt, but you have to spend time to get quality back out of these lil' work gnomes. Every image I created from that prompt ended up being a stereotypical lonely hiker (with 4 fingers I'm sure) strolling through a highly conceptual colorful future universe. Either that or a decrepit shed…So instead, I opted for an image that means much more to me… a wall. Not just any wall though, it's the wall outside of Spread nightclub in Tokyo where I had the pleasure of playing an ambient set this year, meeting new friends, and making some amazing memories.Thanks to all of the artists and labels included here who have soundtracked my year in more ways than one, and the many more I didn't manage to include this time around. Be sure to check the previous year's Reflection mixes for more of the same. Hope you enjoy the listen back at a great year of music. astrangelyisolatedplace · ASIP - Reflection on 2023 Listen on Soundcloud the ASIP Podcast or the 9128.live iOS and Android appDownload MP3Tracklist:01. Sleep D - Hector (Dreaming) (Butter Sessions) 02. Liis Ring - after-image IV: abborresjön (Breton Cassette) 03. William Selman - Leaky Paradise (Mysteries of the Deep) 04. Etüüd - Õhtute kollane tolm (Self released) 05. TU M' - Monochrome #26 (Line Imprint) 06. Arovane - ypaal (Quiet Details) 07. Field Lines Cartographer - Mountain Icicles (Castles in Space) 08. Dream Dolphin - Gaia (Ethereal Fantasy) (Music from Memory) 09. Salamanda - Nostalgia (Wisdom Teeth) 10. Endurance - Crest v2 (Muzan Editions) 11. Suzanne Ciani & Jonathan Fitoussi - Coral Reef (Transversales) 12. Alex Israel - Vacua (Somnambulant Drift) 13. The Black Dog - The Mundane (Dust Science) 14. Locust - Miriam (Mysteries of the Deep) 15. Niko Tzoukmanis - Way Home (Libreville Records) 16. Jo Johnson - Transience (Mysteries of the Deep) 17. Dasha Rush - Dubby Doo (Raster Noton) 18. ǝɯǝɐ - Andrei Rublev (Secuencias Temporales) 19. Gigi Masin & Rod Modell - Red Hair Girl At The Boat Shop (13) 20. Toki Fuko - Part Two (Astral Industries) 21. shedir - Deer Fluent in the Wind (n5MD) 22. Ayaavaaki & Purl - Distant Lights (Ovum III) (LILA) 23. Bana Haffar - Sit Still (Touch) 24. Mike Lazarev - Tonality Number Two (PITP) 25. Claire Deak - In Defiance of Time (Lost Tribe Sound) 26. Lord of the Isles feat. Ellen Renton - Don't You Ache (AD93) 27. nthng - Unlimited (I) (Self released) 28. Donato Dozzy & Sabla - Flusso III (Gang of Ducks) 29. Sindh - Spyres (Sindh) 30. James Holden - In The End You'll Know (Border Community) 31. Andrea - Audieze (Ilian Tape) 32. ASC & Aural Imbalance - Overcast Skies (Auxiliary) 33. Accelio - The Garden (Sawteeth) 34. Yolabmi - Liquidity (29 Speedway) 35. MPU101 - nurMKS30 (Ilian Tape) 36. Ylia - Ame Agari (Balmat) 37. Azu Tiwaline - Antenna Opening (I.O.T Records) 38. Purelink - We Should Keep Going (Peak Oil) 39. Priori - Top Soil (Rhythm Büro) 40. Hysterical Love Project - Ionian Sea (Motion Ward) 41. Om Unit + TM404 - Microdose Mondays (Acid Test) 42. David - Daybreak (Simpler Times)Buy Music Club List (all tracks available digitally on Bandcamp other than #19 (here) + # 42 (here)

Compositora francesa, estudia con Pierre Schaeffer y Pierre Henry. En los 70 descubre los sintetizadores y el budismo tibetano. Produce su música con un único sintetizador ARP 2500. En su obra resuenan las ondas y ritmos de la tierra, los océanos y el espacio. _____Has escuchadoOccam delta II: pour clarinette basse, alto et harpe (2012). Carol Robinson, clarinete bajo; Julia Eckhardt, alto; Rhodri Davies, arpa. Shiin (2017)Transamorem-Transmortem (1973). Important Records (2021)Trilogie de la mort. Kailasha (1998). Experimental Intermedia Foundation (1998) _____ Selección bibliográficaDEMERS, Joanna Teresa, Drone and Apocalypse: An Exhibit Catalog for the End of the World. Zero Books, 2015ECKHARDT, Julia (ed.), Intermediary Spaces. Q-O2 Umland, 2020*GIRARD, Bernard, Entretiens avec Éliane Radigue. Aedam Musicae, 2013HOPE, Cat y Carol Robinson, “Occam Hex II: A Collaborative Composition”. Tempo, vol. 71, n.º 282 (2017), pp. 18-28*NICKEL, Luke, “Occam Notions: Collaboration and the Performer's Perspective in Éliane Radigue's Occam Ocean”. Tempo, vol. 70, n.o 275 (2016), pp. 22-35*RADIGUE, Éliane, “The Mysterious Power of the Infinitesimal”. Leonardo Music Journal, vol. 19 (2009), pp. 47-49*VICENTE, Anne-Lou, “À oreille nue: Traversée du labyrinthe sonore, Éliane Radigue”. En: Tout ouïe: la création musicale et sonore en espace public. Editado por Anne Gonon. L'Entretemps Éditions; HorsLesMurs, 2016*WOOLEY, Nate (ed.), Sound American: The Occam Ocean Issue, n.º 26 (2022). [Monográfico sobre Éliane Radigue]* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Episode 94 Electronic Drone Music   Playlist Yves Klein, “Monotone-Silence Symphony” written in 1947. I could not find any recorded versions of this piece, so I produced this realization of my own to capture the feel and nature of this drone work. Klein conceived this as performance art in which an orchestra would only play a single note, continuously, for 20 minutes followed by another 20 minutes of silence. I've examined the score and can see that Klein also intended that the same note could be played in different octaves. The playing would have been staged so that one group of musicians could overlap another, both for reasons of fatigue but also to allow smooth transitions for the wind instruments because players would need to take a breath. My version includes electronic instruments for multiple parts, each part playing the same note, often in different octaves. The introduction of instrumental groups was planned in stages, each overlapping the previous grouping, gradually shortening in duration as the piece goes on. La Monte Young and Marian Zazeela, “31 VII 69 10:26 - 10:49 PM” from 31 VII 69 10:26 - 10:49 PM / 23 VIII 64 2:50:45 - 3:11 AM The Volga Delta (1969 Edition X). Eponymous untitled album popularly known as "The Black Record" or "The Black Album" Mine is an original copy. The cover is black gloss print on matt black and very hard to read. Numbered edition limited to 2800 copies of which numbers 1-98 are dated and signed by the artists. This work “was recorded at the date and time indicated in the title, at Galerie Heiner Friedrich, München. The work “31 VII 69 10:26-10:49 PM” is a section of the longer work: Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery. Play this side at 33 1/3 rpm only.” Early work employing electronic drones. By the mid-sixties, Young and his partner Marian Zazeela were creating music for electronic drones as an extension of their group, The Theatre of Eternal Music. Using a Heathkit sine wave oscillator and later Moog modules as sources, they created drone pieces that employed “extended duration time signatures” and “long sustained tones, intervals, triads and chords to create the musical texture.” A reissue has now occurred on the label Super Viaduct. Tony Conrad, “Process Four of Fantastic Glissando” from Fantastic Glissando (2006 Table of The Elements). Dating from 1969, this recording contains various versions of the same sound piece, each processed slightly differently. “Process Four” accumulates the processed applied to the previous three processes. The first glissando recording was made using a sine wave oscillator processed through pump counter with a stereo-phase glissando. Recorded December 12, 1969, on a Revox reel-to-reel tape recorder set at 3¾ ips. Conrad was in LaMonte Young's circle of friends and performers and joined him on many productions of The Theatre of Eternal Music. Teresa Rampazzi , “Duodeno normale” and “Duodeno Patologico” from Musica Endoscopica (1972). Here we have two short electronic works from this remarkable women composer that emphasize the drone. The pulsing tones and textures were played manually using audio oscillators. Music produced by the N.P.S. (Nuove Proposte Sonore) group for the documentary entitled "Gastroscopia" (Gastroscopy) realized in 1972 by Prof. Domenico Oselladore, University of Padova, in collaboration with Istituto De Angeli s.p.a., Milan. This documentary was presented at the Scientific Film Festival, Policlinico Universitario di Padova, 1972. “Duodeno Normale” begins with a drone consisting of two continuous tones: a low-pitched buzz from a sawtooth wave accompanied by a pulsating higher-pitched tone. The drone is joined at the 11-second mark by a high-pitched ringing tone played on a third oscillator. This ringing tone is repeated every 5–8 seconds and sustained for two or more seconds each time. The irregular timing of the tone suggests that Rampazzi was manually playing it by turning the dial of an oscillators. The ringing tone is sustained for the duration of the piece, creating a three-part drone. The drones fade out, beginning with the lower buzzing tone. “Duodeno Patologico” uses a similar process. The Taj-Mahal Travelers, “The Taj-Mahal Travelers Between 6:20~6:46P.M.” from July 15, 1972 (1972 CBS/Sony). Released in Japan. Early album by the group founded by experimental electronic musician and violinist Takehisa Kosugi. Electronic Contrabass, Suntool, Harmonica, Performer Sheet Iron, Ryo Koike; Guitar Electronic Quiter, Percussion, Michihiro Kimura; Electronic Trumpet, Harmonica, Castanets, Seiji Nagai; Vibraphone, Santoor Suntool, Yukio Tsuchiya; Electronic Violin, Electronics, Radio Oscillators, Voice, Takehisa Kosugi; Vocals, Tokio Hasegawa. This album was recorded live at Sohgetsu Hall, Tokyo, Japan, July, 1972. Originally released using Sony's SQ quadraphonic system. Yoshi Wada, “Earth Horns with Electronic Drone”(1974) from Earth Horns with Electronic Drone (2009 EM Records). Recorded at Everson Museum of Art, Syracuse, New York, February 24, 1974. Electronics, Liz Phillips; Pipehorn Players, Barbara Stewart, Garrett List, Jim Burton, Yoshi Wada; Electronic equipment designed by, Liz Phillips, Yoshi Wada; Pipehorns constructed by, composed by, recorded by, Yoshi Wada. Combining four of Wada's self-made "pipehorns" (constructed of plumbing materials, over three meters in length), with an electronic drone tuned to the electrical current of the performance space, this is a lost masterpiece of early drone/minimalism. The performance filled the space with complex overtones generated by the ever-shifting interplay of the breathing horns and the constant electronic drone. Lou Reed, “Metal Machine Music” (1975 RCA). All music and electronics by Lou Reed. Inspired by LaMonte Young, this is what I would call a noise drone! Reed himself points to the influence of Young in his lean liner notes. "SPECIFICATIONS: No Synthesizers, No ARP, No Instruments?” Sony 1/2 track; Uher 1/4 track; Pioneer 1/4 track; 5 piggyback Marshall Tube Amps in series; Arbitor distortor (Jimi's); Marantz Preamps; Marantz Amps; Altec Voice of America Monitor Speakers; Sennheiser Headphones; Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music; Rock orientation, melodically disguised, i.e. drag; Avoidance of any type of atonality.; Electro-Voice high filter microphones; Fender Tremolo Unit; Sunn Tremolo Unit; Ring Modulator/Octave Relay Jump; Fender Dual Showman Bass Amp with Reverb Unit (Pre-Columbia) white. Eliane Radigue, “Triptypch” Part 2” (1978). (2009 Important Records). Electronic Instrumentation: ARP 2500 modular synthesizer and analog, multitrack tape composition. The piece uses real-time ARP programming, tape loops, and recorded acoustic sounds. This piece is characteristic of Radigue's fervent exploration of gradually changing layers of harmonically intersecting tones. It is the kind of drone work that can easily dip the listener into a pool of trance and is one of the composer's many works grounded by her dedication to Tibetan Buddhism. Note the overall slowly evolving changes formed by overlapping sustained tones presented without any clearly articulated beginnings and endings. John Cage, Gary Verkade, “Organ2/ASLSP” from The Works for Organ (2013 Mode). John Cage composed “Organ2/ASLSP” in 1987 for solo organ. This piece has been realized at a variety of lengths, from about 30 minutes, to 8 hours, and what is arguably the longest interpretation of music ever played, now 23 years into its projected run of 639-years being performed now in Halberstadt Cathedral, Germany where a special organ was created to perform the piece unattended until a chord change is called for. This work is not electronic, although the pipe organ may be thought of by some, including me, as the first synthesizer. Although I won't be playing this work except in the background of this introduction, I needed to mention it because of its significance in the canon of drone music. “This composition consists, like Cage's ASLSP, of 8 pieces. Unlike ASLSP, however, all pieces here should be played. Any of the 8 pieces may be repeated, and these repetitions may be played subsequent to any of the other pieces. The published score consists of a title page, brief instructions, and 4 leaves with music. Each page contains 2 pieces.” Phill Niblock, “Guitar, too, for four—The Massed Version” from G2,44+/x2 (2002 Moikai). 24-track mix of guitar samples from Rafael Toral, Robert Poss, Susan Stenger, David First. Guitarists adding 2 live parts each to the 24 track mix version: Kevin Drumm, Lee Ranaldo, Thurston Moore, Robert Poss, Alan Licht. Niblock's usually works with acoustic instruments, so this venture with electric guitar is somewhat unique in his body of work. He asks musicians to play parts that are first recorded and then reworked in the mixing and editing process, largely to eradicate pauses and silences so that the sounds can be blended without such interruptions. Pauline Oliveros and Reynols, "Half a Dove in New York, Half a Dove in Buenos Aires" (1999) (2022 Smalltown Supersound). Reynols is an Argentinian experimental band that began in 1993 as Burt Reynols Ensamble. Band member Alan Courtis wrote to me, saying, “First of all, thanks a lot for mentioning our Pauline Oliveros in the arms of Reynols collaboration in your book Electronic & Experimental Music. She was a great musician/composer and friend.” After which he pointed me to a “recent release of an old project we made with Pauline back in 1999.” This is it! Opening background music: Tony Conrad, Arnold Dreyblatt, Jim O'Rourke, “Side 1” from Tonic 19-01-2001 (2023 Black Truffle). Performers, Arnold Dreyblatt, Jim O'Rourke, Tony Conrad. Recorded January 19,2001 at Tonic, New York City. 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.

Challenge accepted!  For our last "regular" episode of Season 3 (before our holiday party and best of 2022 shows), we discuss the artists who continue to challenge us, defy expectations, and create uncompromising art.  Some of these artists have such deep catalogues that it can be daunting to take it all in, some may be too esoteric or eccentric to immediately grab you.  But the 25(!) artists that we pick during this episode have one thing in common...stick with them, and their music will reward you handsomely. In other words...you'll come around, Gregg!  On the other hand, there are certain artists who we find immediately appealing...even if it took 40 years, like the Atlanta band Current Rage.  To celebrate the 40th anniversary reissue of their 1982 mini-album Seven Songs on Propeller Sound Recordings (now generously expanded to 15 tracks) is guitarist John Moore, drummer Paul Lenz, and singer/guitarist Oliver Bewley (son of late Current Rage singer Chris Bewley).  It's a powerful rock n' roll story about family, loss, redemption and second chances that you won't want to miss.  It's the Penicillin Sound! Get the Seven Songs reissue at: https://propellersoundrecordings.com/ About Current Rage: Current Rage are a four-piece, post-punk, musical group that played live in the Southeastern United States during the early eighties. They were comprised of Chris Bewley, John Moore, Pat Kirkland, and Paul Lenz. In the landscape of a fertile, burgeoning Athens/Atlanta music scene Current Rage gained notoriety and a loyal following performing with such musical icons as REM, Pylon, Swimming Pool Q's, The Fleshtones, The Bush Tetras, and The Bongos. Eventually Current Rage would headline shows on their own at such iconic venues as Athens, GA's 40Watt Club, Atlanta's 688 Club, Chapel Hills's The Cat's Cradle, Birmingham's The Nik, and Nashville's Frankensteins. Current Rage first formed in 1979 when skaters, Chris Bewley and John Moore, began writing songs together after school on a pair of second-hand guitars. The two first met as early teen-agers having been recruited separately by Mike Maloof, founder, and manager of Atlanta-based Progressive Skate shop. Bewley and Moore traveled the Southeast competing and marketing Maloof's “Equalizer” skateboard decks and “Accelerator” wheels. Eventually, Moore was recruited by the Z-East team, in Jacksonville, Florida to ride professionally for their Z-Flex brand of decks and wheels. While Bewley was recruited by Sabre Skateboards out of northern Alabama to represent their laminated skate decks at competitions and demos. In the summer of 1979 Moore entered his freshman year at Georgia Tech University and Bewley was invited by his older brother Randy to join his group Pylon as they made their way to New York for their first show opening for Gang of Four. During this trip Bewley became immersed in the New York post-punk music scene and was inspired to start a band of his own. Once back in Atlanta Bewley and Moore began writing songs and practicing. The early version of Current Rage was Bewley and Moore on guitar, Pat Kirkland on drums and Norman Hanson on lead vocals. In mid-1980 Current Rage performed their first show in Athens at the 40th Watt Club opening for The Method Actors. Next, they performed at Atlanta's newly opened 688 Club with The Swimming Pool Q's. Current Rage became the “go to” opening act that year at the 688 Club performing several times each month opening for numerous national and regional acts. By the beginning of 1981 Current Rage was headlining shows in both Athens and Atlanta and began venturing out to Charlotte, Nashville, Chattanooga, and Birmingham. Once the band had found their true drummer in Paul Lenz, who they enticed away from the Atlanta underground band, Vietnam, the original drummer Pat Kirkland shifted his focus to lead vocals and supplemental percussion while Hanson left to start his new band Feast of Friends. Current Rage released an indie label E.P. album called Seven Songs on EOD Records in late 1982. Current Rage was known for short catchy post punk tunes dripping with danceable irony as well as darkwave surf instrumentals. “Seven Songs” was produced by legendary Athens-Atlanta engineer, Bruce Baxter. Baxter had engineered the B-52's single, “Rock Lobster”, Pylon's debut album “Gyrate” followed by the debut albums of The Swimming Pool Q's and Love Tractor. Current Rage's album was the first release on Ron Bond's EOD (Entertainment on Disc) Records. “Seven Songs” was recorded in April 1982 at Channel One studios with Bruce Baxter handling engineering and sound mixing and was released in late October. It is highly regarded by record collectors seeking out early eighties DIY releases. The first pressing of “Seven Songs” yielded 400 copies that were sold primarily at Southeastern independent record stores. Garnering significant east-coast distribution from Important Records, the band rushed to press another 500 records within three months of the initial release. Current Rage gained significant regional buzz from college radio stations WRAS, WREK and WUOG among others across the southeast who played songs like ‘Waikiki' and ‘Sweet Torture'. They also released several music videos that were played regularly in Athens-Atlanta area nightclubs and screened on the weekly music video show on Channel 36 WATL in the early-years of the MTV era. Anthony DeCurtis of Rolling Stone magazine wrote, “an enviable and impressive explosion of new music was emerging from the Atlanta-Athens area at this time” in his Rolling Stone magazine feature article charting the explosion of innovative bands coming out of Atlanta-Athens in 1983. He noted Current Rage as “An up-and-coming standout.” Current Rage has shared the stage with such local legends as Pylon, REM, the Method Actors, The Roys, The Brains, The Swimming Pool Q's, Love Tractor, Vietnam, Kilkenny Kats, and the Side Effects. By 1983, they will have also performed with Col. Bruce Hampton's Late Bronze Age, and Tinsley Ellis' Heartfixers, as well as Guadalcanal Diary and Jason and the Nashville Scorchers. Current Rage's lyrics sketched out wry, lyrical observations about pop-culture fads in “Right Side of the Brain” and “Gidget goes Digital” and expressed vivid, realistic, expressions of common psychological experiences in “Sweet Torture” and “Bitte Schӧn [Beat to Shame]”. In some of their most memorable songs they championed mock-anthemic choruses that affirmed ordinary, everyday, phenomena such as living with an aging dog in “My Dog Sam” or scoring some cool shirts at thrift stores in “Bag of Shirts”. Current Rage's distinctive sound is brash, energetic, and rhythmic, showcasing two drone-based guitarists with crunchy, first-position chords strummed beneath chiming post-punk leads on top of fast frenetic drumming. The relative scarcity of “Seven Songs” today suggests the item does not circulate on the marketplace often. The combination of a small batch release plus, eye-catching three-color cover art, and short catchy songs connects you to the ‘golden age' of the Athens-Atlanta music scene. After Current Rage ceased performing each of the members followed different paths. Paul played drums in several successful bands, The Nightporters, Drivin-n-Cryin, and Michelle Malone's Drag the River. In 1983 he founded a successful musical charity, Rat Aid, which raised much needed funds for targeted relief of local area members of the Atlanta music scene. Today, Paul has a successful audio visual production business in metro Atlanta. Pat had a successful modeling and acting career in Los Angeles, later moving to Phoenix. John returned to school eventually becoming a humanities professor at a college in South Carolina where he still teaches today. Chris took up a career in graphic design gaining a position with the United States Printing Office in Washington D.C., a skill he developed designing concert flyers for local bands and clubs in Atlanta and Athens. In 2018 while living in Charlotte Chris succumbed to a heart attack at the age of 57.

Une playlist de Noël pas comme les autres de la musique ambiante, de l'électro dansant, de l'expérimental slave, du chant de Noël électro-acoustisé, du quatuor à cordes électrisé, du piano militant et de l'hyper-disco beat. Bienvenue dans le Cercle des Musiques Disparues, épisode 44. ************** programme musical ************** - The Del-Byzanteens, Apartment 13 (album Lies To Live By, Don't Fall Off The Mountain, 1982) - Jean-Michel Jarre et Brian Eno, Epica Extension (Columbia Local, 2022) - Namishmusik (?), Christmas - Brian Eno, Ambient 1 : Music for Airports 1/2 (EG, 1979) - Brian Eno, Studies 12: Organa 2, inédit - Brian Eno, Reflection (Warp Records, 2017) - Claude Lenners, Poème (1996), interprété par l'ensemble PTYX : Antoine Moulin (clarinette) et Yu-Hsuan Pai (vibraphone). Concert du 13 novembre 2022, festival Musiques Démesurées - Phil Kline, Hallelujah! (album Messiah Remix, Cantaloupe Music, 2004) - Phil Kline, The Long Winter - Embers, interprété par Sarah Cahill, piano (album A Sweeter Music, Other Minds, 2013) - Phil Kline, The Blue Room & Other Stories: IV. Tarentella, interprété par le Quatuor Ethel (album Ethel, Cantaloupe Music, 2003) - Jozef Van Wissem and Jim Jarmusch, Apokatastasis (Restoration) (album Concerning the Entrance Into Eternity, Important Records, 2012) - Phil Kline, Unsilent Night: Ronde des Mages (Cantaloupe Music, 2001) - Jean Françaix, Les inestimables chroniques du bon géant Gargantua, interprété par l'Ensemble instrumental Andrée Colson (Disques Vernou, 1995) - The Del-Byzanteens, Draft Riot (album Lies To Live By, Don't Fall Off The Mountain, 1982) ***** Phil Kline : photo Lovis Ostenrik ***** Emission radiophonique sur les musiques contemporaines proposée par l'ensemble PTYX. Présentation : Jean-Baptiste Apéré réalisation, production, sans concession : ptyx fan club vnrpe (c) 2022 Avec le soutien du Conseil départemental d'Indre-et-Loire et de la Maison de la Musique Contemporaine

Episode 84 Psychedelic Japan, Part 3   Playlist Boredoms, “Super Going” from Super æ (1998 Birdman). Boredoms (ボアダムス), alternatively known as V∞redoms, is a Japanese experimental/noise/space rock/tribal drumming band from Osaka, founded in 1986 by Yamatsuka Eye. Known for their extended jams and heavy drumming, it is remarkable that they had some mainstream success in the 1990s. Bass, Hira; Drums, EDA; Drums, Vocals, Yoshimi P-We; Guitar, Yamamotor; Music by, Boredoms; Words By, Vocals, Tibetan Bell, Effects (EQ-phasing), Electronics, Eye. 12:26. Boredoms, “7-(Ewe Remix)” from Super Roots 7 (1998 WEA). Bass, Effects, Hilah; Drums, Percussion (Electronic), E~Da; Drums, Sampler (Samples), Percussion, ATR; Drums, Vocals, Tape (Bird Flying Sound), Keyboards (Casiotone), Yoshimi P-We; Guitar (Guitars), Yamamotor; Sampler, Synth, Kiyoshi Izumi; Vocals, Synth, Tape (Open Reel), Electronics (Vacuum Cleaner), Bell, Effects, Sounds, Electronics, Tape (Insects, Bird), Eye. 4:05 OOIOO, “Oizumio” from Feather Float (1999 Polystar). Pronounced OH-EE-OH, Band formed by trumpeter and drummer for the Boredoms on a whim as the result of a photo shoot she once did. Bass, Handclaps, Maki; Drums, Handclaps, Yoshiko; Guitar, Vocals, Djembe, Bongos, Roland Juno and Casiotone synthesizers; Piano, Jew's Harp, Talking Drum, Scratches, Noises (Birds), Yoshimi; Guitar, Vocals, Handclaps, Kyoko; Producer, Yoshimi. 3:39 OOIOO, “1000 Frogs And 3 Sun In A House” from Feather Float (1999 Polystar). Bass, Handclaps, Maki; Drums, Handclaps, Yoshiko; Guitar, Vocals, Djembe, Bongos, Roland Juno and Casiotone synthesizers; Piano, Jew's Harp, Talking Drum, Scratches, Noises (Birds), Yoshimi; Guitar, Vocals, Handclaps, Kyoko; Producer, Yoshimi. 10:28 Boredoms, “"Ҩ" (Spiral)” from Vision Creation Newsun (2001 Birdman). There have been some live performances of this music from Vision Creation Newsun where Eye has recruited as many as twenty drummers to join the fray, all positioned in a circle with Eye conducting from the middle. And it's said that this is not one of his most extreme performance setups. Bass, Effects, Vocals, Hilah; Drums, Percussion, Electronic Drums (Electric Pad), Vocals, ATR, E-Da; Drums, Percussion, Keyboards (Casiotone), Vocals, Yoshimi; Guitar, Vocals, Yamamotor; Vocals, Synth, Sampler (Samples), Turntables, Tape (Open Reel), Vocoder, Computer, Electronics, Edited, mixed by, Eye. 6:33 Boredoms, “"↑" (Arrow Up)” from Vision Creation Newsun (2001 Birdman). Bass, Effects, Vocals (Vox), Hilah; Drums, Percussion, Electronic Drums (Electric Pad), Vocals, ATR, E-Da; Drums, Percussion, Keyboards (Casiotone), Vocals, Yoshimi; Guitar, Vocals, Yamamotor; Vocals, Synth, Sampler (Samples), Turntables, Tape (Open Reel), Vocoder, Computer, Electronics, Edited, mixed by, Eye. 6:26 Adachi Tomomi, “Gamp” (2001 unofficial release). Adachi Tomomi is a performer/composer from Tokyo, Japan. He plays improvised music with voice, computer, and self-made instruments. 2:35 Acid Mothers Temple & The Melting Paraiso U.F.O., “The Creation Of The Human Race” from 41st Century Splendid Man (2002 tUMULt). Bass synthesizer, bass harmonica, Tsuyama Atsushi; Drums, Yoshida Tatsuya; Electric Guitar, Synthesizer, Other Dancin' King, Hiroshi Higashi; Electric Guitar, Effects RDS 900, Synthesizer, Kawabata Makoto; Cosmic Companion, Ayano; Space Phone girl, Yoko; Synthesizer, Higashi Hiroshi; Vocals, Cotton Casino. From a picture disc version of this recording. 9:12 Acid Mothers Temple & The Melting Paraiso U.F.O., “Dalai Gama” from 41st Century Splendid Man (2002 tUMULt). Bass synthesizer, bass harmonica, Tsuyama Atsushi; Drums, Yoshida Tatsuya; Electric Guitar, Synthesizer, Other Dancin' King, Hiroshi Higashi; Electric Guitar, Effects RDS 900, Synthesizer, Kawabata Makoto; Cosmic Companion, Ayano; Space Phone girl, Yoko; Synthesizer, Higashi Hiroshi; Vocals, Cotton Casino. From a picture disc version of this recording. 4:32 Merzbow, “Argus” from Karasu: 13 Japanese Birds Pt. 4 (2009 Important Records). Music by Masami Akita. We included a cassette release from Akita in part 2 of this series. That was from early days for Merzbow, 1984. It seems fitting that we include a more recent CD by him here. Limited edition of 1,000 copies. Recorded and mixed in Tokyo, Feb 2009. 19:40 Opening background music: Far East Family Band, “Parallel World” from Parallel World (1976 MU Land). Music by, arranged by, Far East Family Band. Produced, recorded, computer mix by, Klaus Schulze. Recorded November 15th to December 5th 1976 at the Manor Studio, UK. 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. See my blog for the Bob Moog Foundation.

Greetings! I thought I'd mention that in mulling over the current Twitter debacle, for the time being, Pushing The Envelope will continue it's primary presence on that site, until a viable alternative makes itself known.  That being said, a broad range of goodies are on today's program with a highlight featuring two compositions from the Borderlands Ensemble's 2021 tour-de-force, "the space in which to see". Enjoy! Joel   e-mail: pushingtheenvelopewhus@gmail.com Twitter: https://twitter.com/envpusher1      11-5-22 PTE Playlist   Crossing The Rubicon - Randi Pontoppidan & Povl Kristian  - Life In Life - Chant Records (2022) https://randipontoppidanpovlkristian.bandcamp.com/album/life-in-life   Rain - Masahiko Togashi with Don Cherry & Charlie Haden - Song of Soil - Wewantsounds (1979/2022) https://wewantsounds.bandcamp.com/merch/masahiko-togashi-with-don-cherry-charlie-haden-song-of-soil-cd-edition   Vapor Capture - guitar & modular synth: Bartolo / tenor sax: Pedro Sousa / drums: Gabriel Ferrandini - BASFE - Chant Records (2022) https://bart-olo.bandcamp.com/album/basfe   It's Like They Never Existed At All - worriedaboutsatan (Gavin Miller) - Glass Infinites - digital self-release (2022) https://worriedaboutsatan.bandcamp.com/album/glass-infinites   Corridors of Time - Michael Stearns - Chronos — 2022 Remaster, Original X​-​86 Ambisonics Mix - Projekt Records (2022) https://projektrecords.bandcamp.com/album/chronos-2022-remaster-original-x-86-ambisonics-mix   Endless Journey - Ant-Bee (Billy James) feat. Peter Banks - Electronic Church Muzik - Barking Moondog Records (2011)    avian reduction (2022 remix) - Joel Krutt - "Melt : Minnesota Remixed" - Wandering Ear (2006) https://soundcloud.com/the-envelope-pusher/avian-reduction   True Finders - Rent Romus, Heikki Koskinen, Life's Blood Ensemble - Manala - Edgetone Records (2020) https://edgetonerecords.bandcamp.com/album/manala   the space in which to see - Borderlands Ensemble / composer: Anne Leilehua Lanzilotti - text: Layli Long Soldier / the space in which to see - New Focus Recordings (2021) https://www.newfocusrecordings.com/catalogue/borderlands-ensemble-the-space-in-which-to-see/   Tête et Queue du Dragon/Head and Tail of the Dragon - Luc Ferrari - Early Modulations: Vintage Volts -  Caipirinha Productions (2000) http://lucferrari.com/en/analyses-reflexion/tete-et-queue-du-dragon/   Passing Ships - Borderlands Ensemble / composer: Jay Vosk / the space in which to see - New Focus Recordings (2021) https://www.newfocusrecordings.com/catalogue/borderlands-ensemble-the-space-in-which-to-see/   Cetacean Somnolence - Yannick Dauby - Belly of the Whale (compilation) - Important Records (2006)   https://importantrecords.com/products/imprec098   Angels (featuring Stu Hamm) - Alberto Rigoni & Michael Manring - Grains of Sand - self-release (2022) https://albertorigoni.bandcamp.com/   Cerulean Cathedral - Cymbalic Encounters - Cerulean Cathedral - digital self-release (2022) https://cymbalicencounters.bandcamp.com/album/cerulean-cathedral   Mexican Puppets - Dallas Perkins - Experimental Truth - D-Mania Records (2022) https://www.dallasperkins.com/

Joshua Stamper has been a composer and collaborator for nearly thirty years. Equally at home in the jazz, classical, avant-garde, and indie/alternative worlds, and working with filmmakers, dancers, visual artists, poets and architects, his work reflects a deep commitment to transdisciplinary collaboration. Joshua has worked as an orchestral arranger, a studio conductor, and session musician for Columbia / Sony BMG and Concord Records, Lionsgate Films, Warner Bros. Pictures, and Legendary Entertainment, and for independent labels Domino, Dead Oceans, Important Records, Sounds Familyre, Smalltown Supersound, Joyful Noise Recordings, and Mason Jar Music.Joshua's work has been commissioned by the Daedalus Quartet, Mantra Percussion, and the Grammy-winning chamber choir, The Crossing. He is a MacDowell Composition Fellow, and is also the recipient of the Lincoln City Fellowship and the New Jersey State Council on the Arts Fellowship. His work has been supported by the American Composers Forum, the Lilly Endowment, the Anne M. and Philip H. Glatfelter III Family Foundation, the Musical Fund Society of Philadelphia, the Eric Stokes Foundation, and the National Endowment for the Arts.The Bass Shed

Joshua Stamper has been a composer and collaborator for nearly thirty years. Equally at home in the jazz, classical, avant-garde, and indie/alternative worlds, and working with filmmakers, dancers, visual artists, poets and architects, his work reflects a deep commitment to transdisciplinary collaboration. Joshua has worked as an orchestral arranger, a studio conductor, and session musician for Columbia / Sony BMG and Concord Records, Lionsgate Films, Warner Bros. Pictures, and Legendary Entertainment, and for independent labels Domino, Dead Oceans, Important Records, Sounds Familyre, Smalltown Supersound, Joyful Noise Recordings, and Mason Jar Music.Joshua's work has been commissioned by the Daedalus Quartet, Mantra Percussion, and the Grammy-winning chamber choir, The Crossing. He is a MacDowell Composition Fellow, and is also the recipient of the Lincoln City Fellowship and the New Jersey State Council on the Arts Fellowship. His work has been supported by the American Composers Forum, the Lilly Endowment, the Anne M. and Philip H. Glatfelter III Family Foundation, the Musical Fund Society of Philadelphia, the Eric Stokes Foundation, and the National Endowment for the Arts.The Bass Shed on IG / The Bass Shed on Twitter / View More Episodes

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W ostatnich latach w mainstreamie muzyki filmowej znalazła się niegdyś niszowa muzyka niezależna. Młodzi twórcy odbierają za nią Oscary. Skąd bierze się ich sukces? O rewolucji, jaka odbywa się w muzyce filmowej, Jędrzej Słodkowski z "Gazety Wyborczej" rozmawia ze znakomitym polskim kompozytorem Stefanem Wesołowskim, związanym z takimi wytwórniami płytowymi jak amerykańska Important Records, francuska Ici D'ailleurs czy brytyjska Mute. Jego album "Rite of the End" został uznany za najlepszą polską płytę 2017 roku w plebiscycie "Gazety Wyborczej". Więcej podcastów na https://wyborcza.pl/podcast. Piszcie do nas w każdej sprawie na listy@wyborcza.pl.

Episode 29 Sitars and Synthesizers   Playlist Vincent Bell With Orchestra, “Quiet Village,” from Pop Goes The Electric Sitar (1967 Decca). The Coral Electric Sitar with chorus and orchestra. Coral electric sitar, Vinnie Bell (its inventor). AKA Vincent Gambella, a popular session player, primarily on guitar. Big Jim Sullivan, “Flower Power,” from Sitar Beat (1967 Mercury). Sitar and electric guitar, Jim Sullivan. Ultimate Spinach, “Your Head is Reeling,” from Ultimate Spinach (1968 MGM). Vocals, Lead Guitar, Guitar Feedback, Sitar [Electric], Geoffrey Winthrop. A very brief introduction to this longer track, featuring the Coral Electric Sitar. Enoch Light And The Light Brigade, “Marrakesh Express,” from ‎Permissive Polyphonics (1970 Project 3 Total Sound). Coral Electric Sitar, Vinnie Bell; Moog Modular Synthesizer, Dick Hyman; Electric Alto Sax, Arnie Lawrence; Bass, Julie Ruggiero; Drums, Billy LaVorgna. Ami Dang, “Conch and Crow” from Parted Plains (2019 Leaving Records). Sitar, electronics, audio processing, voice, Ami Dang. Ami Dang, “Souterrain” from Parted Plains (2019 Leaving Records). Sitar, electronics, audio processing, voice, Ami Dang. Ami Dang, “Simplicity Mind Tool” from Meditations Mixtape Vol.1 (2020 Leaving Records). Sitar, electronics, audio processing, voice, Ami Dang. Ananda Shankar, “Dance Indra,” from Ananda Shankar (1970 Reprise). Ananda Shankar is not related to Ravi Shankar, the great classical Indian sitar master. Sitar, Ananda Shankar; Keyboards, Moog Modular Synthesizer, Paul Lewinson; Tabla, Pranish Khan; Drums, Joe Pollard, Michael Botts; Bass, Jerry Scheff, Mark Tulin; Guitar, Dick Rosmini, Drake Levin. Trivia, produced by James Lowe and included Mark Tulin on bass, both members of the Electric Prunes from the late Sixties. Paul Lewison was playing a Moog owned by producer Alex Hassilev. Shankar wanted to combine Western and Indian music into a “new form” as he called it. Melodious, touching, combining modern electronics and traditional sitar. I think he succeeded. I have included two striking examples that stray a bit from the pop rock flavor of many of the tracks. Ananda Shankar, “Raghupati,” from Ananda Shankar (1970 Reprise). Sitar, Ananda Shankar; Keyboards, Moog Modular Synthesizer, Paul Lewinson; Tabla, Pranish Khan; Drums, Joe Pollard, Michael Botts; Bass, Jerry Scheff, Mark Tulin; Guitar, Dick Rosmini, Drake Levin. Okko Bekker, “East Indian Traffic,” Sitar & Electronics (1970 BASF). Sitar, Moog Modular Synthesizer, Tabla, Okko Bekker; Moog Modular Synthesizer, Simon Alcott (alias of British pop pianist Les Humphries); Flute, Herb Geller; Guitar, Peter Haesslein. Bekker is a Dutch sitarist, keyboardist, and producer. Indian influenced psychedelic music from the days of the Moog Modular, recorded in Germany. This came several years after the Beatles and Stones experimented with the sitar but was an early album to combine the sitar with a Moog modular synthesizer. I have no idea where he learned sitar but I do know whose Moog he used for this recording. The producer Simon Alcott had purchased some Moog modular units in 1970. Alcott is also the alias of Les Humphries. Most of the album consists of cover tunes of rock songs, such as The Beatles. I chose one of bolder Moog tunes. Okko Bekker, “Delphin, Makarasana,” from Yoga Für Millionen (1978? Maritim). A German album of yoga instruction with musical soloist Bekker playing Sitar, Tabla, Moog Synthesizer, Flute, and Percussion. The narrator is Ulrich Brockmann. Amon Duul II, “Wie Der Wind Am Ende Einer Strasse” from Wolf City (1972 United Artists). Bass, Lothar Meid; Drums, D. Secundus Fichelscher; Electric Guitar, John Weinzieri; Sitar, Al Sri Al Gromer; Tabla, Pandit Shankar; Tambura, Liz van Neienhoff; Organ, Synthesizer, Falk-U Rogner; Soprano Saxophone, Olaf Kübler; Timpani, Peter Leopold; Violin, Chris Karrer Paul Heyda. Yves Hayat, “Path to Ascension” from Conversation Between the East and The West (1976 DeWolfe). Composer, sitar, guitars, bass, synthesizers, Yves Hayat; keyboards, vocals, Diane Crisanti. Produced as a record for broadcast libraries. Cosmology, “Out of the Kiva,” from Cosmology (1977 Vanguard). Sitar, congas, percussion, Collin Walcott; Vocals, Percussion; Dawn Thompson; Acoustic Bass, Electric Bass, Rick Kilburn; Drums, Bells, Bob Jospé; Fender Rhodes, Piano, Oberheim Synthesizer, Armen Donelian; Trombone, Dave Glenn; Trumpet, Flugelhorn, Tin Whistle, Mayan Flute, Flageolet, John D'earth. Clearlight, “Full Moon Raga,” from Visions (1978 Polydor). Bass, Philippe Melkonian; Grand Piano, ARP Odyssey, Gong, Cyrille Verdeaux; Sitar, Patrick Depaumanou; Minimoog, Luc Plouton; Tabla, Mohamed Taha; Drums, Percussion, Jacky Bouladoux; Electric Guitar, Bottleneck Cosmique, Christian Boule; Flute, Tenor Saxophone, Soprano Saxophone, Didier Malherbe; Violin, Bass Violin, Didier Lockwood; Vocals, Gérard Aumont, Gérard Gustin. The fourth album from this French progressive rock group headed by Cyrille Verdeaux on keyboards and ARP Odyssey. I have two recordings of this album. The original from 1978 had much less synthesizer. In 1992 they remixed the LP and added more synthesizer and vocals to the tracks. We are hearing the remixed version. Electric Universe and Sitarsonic, “Dub Stanza” from Dub Stanza (2020 Sacred Technology). Electric Universe is an ambient electronic musician who teamed up with sitarist and electronic musician Sitarsonic (Paco Rodriguez) to produce this dub-flavored work. Paco is from Greece. Electric Universe is in Belgium. Acid Mothers Temple & The Melting Paraiso UFO, “Ziggy Sitar Dust Raga,” from Ziggy Sitar Dust Raga (2003 Important Records). Vocals, Sitar, Cotton Casino; Tambura, Kawabata Makoto; Synthesizer, Higashi Hiroshi; Vocals, Tsuyama Atsushi. A psychedelic, trance-inducing treat from this inventive group of Japanese improvisers.       Thanks to Ami Dang for helping me with this episode. You can explore releases of her music as well as check out her podcast at her website. Track played during the opening: The Folkswingers Featuring Harihar Rao ‎, “Paint it Black,” Sitar Beat (1966 Fontana). Sitar, Harihar Rao; Organ, Electric Piano, Larry Knechtel; Bass, Bill Pittman; Fender Bass, Lyle Ritz; Drums, Hal Blaine; 12-string Electric Guitar, Dennis Budimir; Guitar, Herb Ellis, Howard Roberts, Tommy Tedesco.   Track played during the opening: Lord Sitar, “I Am the Walrus,” from Lord Sitar (1968 Columbia). Sitar, Big Jim Sullivan. Track played behind the Ami Dang interview: Ami Dang, “Ajooni” from Meditations Mixtape Vol.1 (2020 Leaving Records). Also from Thom Holmes: My Book: Electronic and Experimental Music, sixth edition, Routledge 2020. My Blog: Noise and Notations.

In this second of two interview sessions, we talk with Ned Lagin about the compositional process behind his work (including echoes of Renaissance music), his Seastones collaborators, the ups and downs of the Seastones release(s) and his subsequent technical career. Ned Lagin is legendary. As a former performer with the Grateful Dead, he toured with a crazy rig that featured both standard keyboards as well as an E-mu modular controlled by a computer system. All this during the early 70’s (http://spiritcats.com/nedbase.html) – ya’ dig? You can learn more about All Things Ned Lagin on the Spiritcats website (http://spiritcats.com/index.html), and about the vinyl release of Seastones on the Important Records website (https://recordstoreday.com/SpecialRelease/12081). Enjoy! Transcription available at http://www.darwingrosse.com/AMT/transcript-0341.html

Ned Lagin is legendary. As a former performer with the Grateful Dead, he toured with a crazy rig that featured both standard keyboards as well as an E-mu modular controlled by a computer system. During the early 70’s (http://spiritcats.com/nedbase.html). Yeah. He also produced an amazing work, called Seastones, that is a ground-breaking electronic music collection. Unfortunately, it fell between the cracks of some label flip-flopping, and never received the attention it deserved. Featuring guest spots by some amazing collaborators (including Jerry Garcia, Phil Lesh, David Crosby and Grace Slick), the album has been reissued as a CD by Ned (http://spiritcats.com/music.html), and on vinyl by Important Records. In this first of two interview sessions, we discuss his work, his background and the various technologies that he employed (and in some cases had to invent) in order to play and produce his musical work. We also talk about the many people that influenced him, and the twists and turns of his musical – and technological – journey. You can learn more about All Things Ned Lagin on the Spiritcats website (http://spiritcats.com/index.html), and about the vinyl release of Seastones on the Important Records website (https://recordstoreday.com/SpecialRelease/12081). Enjoy! Transcription available at http://www.darwingrosse.com/AMT/transcript-0340a.html

Part of Mutant Promise's online series (https://auth-somerset.axis12.com/whats-on/mutant-promise) for progressive music-making, including introduction courses to coding and sound software, digital field recording, interior soundscape composition, and remote hardware workshops for DIY synth building at home.  Note: At 30.25 the artist uses the word 'centralised' in place of the intended word 'de-centralised'. ABOUT THE ARTISTS Jessica Ekomane (https://jessicaekomane.com/) is a French-born and Berlin-based electronic musician and sound artist. Her practice unfolds around live performances and installations. Her quadraphonic performances, characterized by their physical affect, seek a cathartic effect through the interplay of psychoacoustics, the perception of rhythmic structures and the interchange of noise and melody. Her ever-changing and immersive sonic landscapes are grounded in questions such as the relationship between individual perception and collective dynamics or the investigation of listening expectations and their societal roots. One of six composers chosen as collaborators by Natascha Süder Happelman for her installation at the German pavilion of the Venice Biennale 2019, her debut album, Multivocal was released on Important Records in 2019. Her work has been presented in various institutions worldwide such as CTM festival (Berlin), Ars Electronica (Linz), Dommune (Tokyo) or Bemis Center for Contemporary Arts (Omaha). Annie Goh (https://www.arts.ac.uk/research/ual-staff-researchers/annie-goh) is an artist and researcher working primarily with sound, space, electronic media and generative processes within their social and cultural contexts. She is a Lecturer in XD Pathway in BA Fine Art at CSM and an Associate Lecturer in Sound Arts at LCC. Her work takes a critical approach to contemporary debates in the fields of digital technologies, media arts, generative and computational processes and communication studies, with a particular focus on sound, intersectional feminism, decolonial theory and the politics of knowledge production.

On the inaugural episode of the Nocturnal Podcast: Talking Records! Jay talks with Jedidiah Bracy, host of Point of Departure and John Brien, owner of Important Records, about Record Store Day and they also discuss their favorite records within their collection and what it was like to work in a record store like, Bullmoose Music.Curated and Recorded by Jason Boucher; Nocturnal podcast theme music by Lobo Loco.Podcast produced by Mark Lefebvre for WSCA Radio.

There are a few record labels that capture my attention and keep it. One of these is Important Records - not because I'm a get-every-release fanboy, but rather because, when I find myself in a great record store, I'll often find myself picking up Imprec releases. There's just something about the artists, the design and the clear quality that speaks to me. And, of course, it helps that they release archival material from my personal heroes! It took a while, but eventually I did get to have a chat with John Brien. We got a chance to dive into his background in music (and love of music), how he got to starting a label, and what the work looks like now. Especially interesting is his process for digging through the archives, and finding artists that speak to him. Thus, Pauline Oliveros and Harry Bertoia share the stage with ELEH and Caterina Barbieri, but it all makes perfect sense. In these times of COVID-isolation, you can browse the virtual crates by checking out the Important Records website (https://importantrecords.com/), Bandcamp site (https://imprec.bandcamp.com/) and sister cassette-focused label Cassauna (https://cassauna.bandcamp.com/). Enjoy!

Reaching for trance states, peer-to-peer discoveries, the myth of technological neutrality. The Berlin-based artist discusses three important albums.

In the second episode of season two, Kevin is reluctantly joined by his (now former) boss, Page Foster Nelson, who in a previous life, was a budding singer and songwriter. The two discuss her musical upbringing, her love of NPR's "Tiny Desk" series, having 'mom brain,' and the women in music that she chronologically tracked with the tunes discussed. For more information about the AWARD WINNING music blog Anhedonic Headphones, click here! Episode 11 credits: The intro to the episode featured an instrumental version of "Labels," performed by GZA/Genius, taken from the 2012 Get On Down/Geffen/Universal Music Special Markets release Liquid Swords - The Chess Box (Instrumentals.) The song originally appears on the 1995 Geffen Records release Liquid Swords. The theme music is a YouTube rip of the intro to BET's "Rap City: The Bassment," airing from 1999 to 2005. In today's episode, we discussed: "Coyote," written and performed by Joni Mitchell; taken from the 1976 Asylum Records release Hejira. "Animal" written and performed by Ani DiFranco; taken from the 2004 Righteous Babe Records release Educated Guess. "This Side of The Blue," written and performed by Joanna Newsom; taken from the 2004 Drag City release The Milk-Eyed Mender. "The Turnaround Road," written and performed by Diane Cluck; taken from the 2003 Important Records release Oh Vanille/ova nil. "Stranger to My Happiness," written by Bosco Mann and performed by Sharon Jones and The Dap Kings; taken from the 2014 Daptone Records release Give The People What They Want. "Dreams," written by Stevie Nicks and performed by Fleetwood Mac; taken from the 1977 Warner Brothers release Rumors. "Don't Want to Fight," written by Brittany Howard and performed by Alabama Shakes; taken from the 2015 ATO Records release Sound and Color. "Soledad Y el mar," written by Natalia Lafourcade and David Aguilar, and performed by Natalia Lafourcade. The original version is found on the 2017 Sony/RCA release Musas; this version is taken from National Public Radio's "Tiny Desk" series. "Rang Tang Ring Toon," written and performed by Mountain Man; taken from the 2018 Nonesuch Records release Magic Ship. "Done," written and performed by Frazey Ford; taken from the 2014 Nettwerk Music release Indian Ocean.

Delìrium Còrdia (#141) Mid-Valley Mutations Jukebox. Enjoy! https://ia601506.us.archive.org/7/items/Mutation141/Mutation141.mp3   Delìrium Còrdia HOUR 1: Part I:  01.) Trigger In Trigger Out / They’re Coming From The Cosmic Inferno * Acid Mothers Temple & The Cosmic Inferno * Just Another Band from The Cosmic Inferno  * Important Records (2005) HOUR 2: Part II:  02.) Delìrium Còrdia * Fantômas * Delìrium … Continue reading Delìrium Còrdia (#141)

In this episode, I talk to Sarah Lipstate, a Los Angeles-based composer, and a guitarist. We cover topics such as making a living as a musician today, marketing your work, the things Sarah is currently struggling with, the relationship between her gear and her art, and much more. Biography Sarah Lipstate is a Los Angeles-based composer, most known for Noveller, her solo electric guitar project. Handling the guitar as her muse, Lipstate summons a sonic palette so rich as to challenge the listener to conceive of how it’s housed in a single instrument manipulated by a solitary performer. In 2014, Lipstate announced her signing with Fire Records. Fire released Noveller's latest full-length 'Fantastic Planet' in January 2015 and also re-issued Noveller's critically acclaimed albums 'No Dreams' and 'Glacial Glow' in early 2016. She's previously released records on No Fun Productions, Important Records, Weird Forest, Taiga, and her own imprint Saffron Recordings. Noveller has toured with Iggy Pop, St. Vincent, Radiolab, Xiu Xiu, the Jesus Lizard, U.S. Girls, & Aidan Baker. Lipstate has collaborated with several renowned musicians, including JG Thirlwell (Foetus, Manorexia), Carla Bozulich (Evangelista, The Geraldine Fibbers), David Wm. Sims (the Jesus Lizard, Scratch Acid), Lee Ranaldo (Sonic Youth). She has previously performed as a member of Cold Cave, Parts & Labor, and One Umbrella. Lipstate has also participated in Rhys Chatham’s Guitar Army, Ben Frost’s “Music for 6 Guitars” Ensemble, and Glenn Branca’s 100 guitar ensemble. Selected Links From the Episode Sarah Lipstate's Website Sarah Lipstate's Instagram Radiolab Apocalyptical Parts & Labor Effects unit (Wikipedia) Bandcamp Ray Dalio Moon Canyon Signature Pedal Show Notes Introduction [00:00] Episode Introduction [00:52] Advice to Younger Self [02:56] Main Challenges of Being a Musician Today [05:11] Making a Living as a Musician [08:02] Short Episode Break – Support the Podcast [18:28] Marketing Your Work [19:21] Relationship Between Gear and Art [23:05] The Best Investment Sarah Made in Herself [25:38] Sarah’s Current Struggles [27:23] Advice for Being a Better Musician and Creative Professional [30:41] Episode Outro [33:18] Full transcript and more at https://creative.voyage/

  Rare Frequency Podcast 61 1 Yuko Nexus6, "J’aime Beaucoup La Cassette #1" Journal de Tokyo (Sonore) 2002 CD Time: 00:00-01:35 2 John Chantler, "All Visible Signs" Which Way to Leave? (Room40) 2017 LP Time: 01:50-08:18 3 Laurence Crane, "John White in Berlin" Chamber Works, 1992-2009 (Another Timbre) 2015 2CD Time: 08:18-21:42 4 Leo Okagawa, "Lumbar Spinre"e; The Notional Terrain (Glistening Examples) 2016 LP/mp3 Time: 21:37-32:16 5 Sarah Davachi, "In Staying" Vergers (Important Records) 2016 LP/mp3 Time: 32:12-42:35 6 Stefan Mathieu, "Traum" Radiance X: Her Dark Gaze Drowned In Light (Schwebung) 2017 mp3 Time: 42:34-48:25 7 Gelbart, "The Big Sleep" Preemptive musical offerings to satisfy our future masters (Gagarin) 2016 LP Time: 49:39-53:56 8 Franck Vigroux / Reinhold Friedl, "Tobel A1" Tobel II (Monotype) 2015 CD Time: 53:55-1:09:13 9 Ghost Grass, "The Wooden Man" The Wooden Man (Bandcamp) 2016 mp3 Time: 1:09:01-1:14:42 10 Porter Ricks, "Harbour Chart" Shadow Boat EP (Tresor) 2016 12” Time: 1:14:37-1:21:05 11 Ashley Bellouin, "Bourden" Ballads (Drawing Room) 2016 LPTime: 1:21:51-1:38:53 12 Asmus Tietchens, "Soiree Fantastique #2" Soiree Fantastique (Auf Abwegen) 2016 EPTime: 1:40:08-end

Important Records at saki records with Seth Vanek and Health & Beauty on Björk's "Vespertine," Brandon Wetherbee and Rock Falls on The Replacements' "Tim" The fifth edition of Important Records. Recorded live at Saki Records on December 27, 2014. Seth Vanek talked about Björk's "Vespertine" and Health & Beauty performed three songs the album. Brandon Wetherbee talked about The […]

Important Records at saki records with Seth Vanek and Eiren Caffall on Songs: Ohia's "Didn't It Rain," Christy LeMaster and REINS and Neautral Milk Hotel's "In The Aeroplane Over The Sea," Brandon Wetherbee and Rock Falls on PJ Harvey's "Stories From The City, Stories From The Sea" The fourth edition of Important Records. Recorded live […]

Important Records with Deadbeat and Brandon Wetherbee, Rock Falls and Seth Vanek, Gabe Liebowitz and Joe McAdam Deadbeat interprets songs and Brandon Wetherbee talks about Beck's "Mutations" Rock Falls interprets songs and Seth Vanek talks about Paul Simon's "Graceland" Gabe Liebowitz interprets songs and Joe McAdam talks about Neil Young's "On The Beach" saki records for […]

Important Records at Saki Records with James Fritz and Gabe Liebowitz on Afghan Whigs' "Black Love," Leor Galil and Mike Riga on Fugazi's "The Argument," Brandon Wetherbee and Rock Falls on Nirvana's "In Utero" The first edition of Important Records. Recorded live at Saki Records on Saturday, May 26. James Fritz talked about The Afghan […]

DISC OF THE WEEK:Sunn O))) - Monoliths & Dimensions (Southern Lord) __________________PLAYLIST #009: Download Link"Vishnu And The Magic Elixir" by Acid Mothers Temple & The Melting Paraiso UFO from Lord Of The Underground: Vishnu And The Magic Elixir (Alien8)"Vaidurya" by Painkiller from Execution Ground (Toy's Factory)"Untitled 4" by C. Spencer Yeh And Paul Flaherty w/ Greg Kelley from New York Nuts & Boston Beans (Important Records)"Skull Theft" by Infinity Window from Artificial Midnight (Arbor CDR)"Dealer vs. Ocean" by Valet from False Face Society (Mexican Summer)"Xerrox Meta Phaser" by Alva Noto from Xerrox Vol. 2 (Raster-Noton)"Ohrid Must Die" by Preslav Literary School from Beautiful Was The Time (Elephant And Castles)"Mores Part II" by The Human Quena Orchestra from The Politics Of The Irredeemable (Crucial Blast)"Alice" by Sunn O))) from Monoliths & Dimensions (Southern Lord)"Cathedral of the Ultimate Void" by Behexen from My Soul For His Glory (Moribund Records)"First National Stem Cell And Clone" by Agoraphobic Nosebleed from Agorapocalypse (Relapse)

DISC OF THE WEEK: Ocean - Of the Lesser (Important Records) I've heard somewhere this album by Ocean was the bestseller of Important Records. I don't know if its true,but it's one of their best records for sure. This is a nicemix of Sunn0)), Khanate, Ghäst, Asva and Neurosis.Doom, funeral, black metal, so lovely. __________________PLAYLIST #005:Download Link"Horizon Line" by Aidan Baker & Thisquietarmy from A Picture Of A Picture (Killer Pimp)"Finally1" by Yellow6 from Music For Pleasure (Rocket Racer)"The Forest Outlaws" by Double Leopards from Halve Maen (Eclipse Records)"Living Room" by Emeralds from What Happened (No Fun Productions)"Heijastuksia! Kaikuja!" by Kemialliset Ystävät from Summer and Smiles of Finland (Fonal Records)"Pehmeä iho" by ES from Summer and Smiles of Finland (Fonal Records)"Aurinkotuuleen" by Paavoharju from Summer and Smiles of Finland (Fonal Records)"The Medicine Of The Third Order" by Vapour Theories from Joint Chiefs (The Lotus Sound)"Teonanacatl" by Barn Owl from From Our Mouths A Perpetual Light (Digitalis Recordings)"Of the Lesser" by Ocean from Pantheon Of The Lesser (Important Records)"Hi From Jersey" by Maegashira from The Stark Attic (Spare Change)"Emergence hors de l'Abime" by Arkha Sva from Mikama Isaro Mada (Total Holocaust Records)