Podcast appearances and mentions of Tetsu Inoue

Episode 125 Trippy Trance Music Origins, Part 2 Playlist   Track Time Start Time Introduction –Thom Holmes 05:01 00:00 1.     Pete Namlook, “Power Supply II” from Namlook IV (1994 Fax +49-69/450464). “The music originated instinctively whilst being played live. There was no concept for the composition before, only a kaleidoscope of sounds stemming from the given instruments. The music of this CD is “dedicated” to the missing 220V power supply, the broken EMS Synthi which I dropped during the setting-up of my equipment, the SE-1 which instantly created its own sounds during the live recording and the Studio 440 with 2 faulty pads and a disk drive which had to be convinced to cooperate.” 5:00 05:16 2.     Pete Namlook, “Power Supply III” from Namlook IV (1994 Fax +49-69/450464). See explanation for part II above. 5:00 10:15 3.     Pete Namlook, “Power Supply IV” from Namlook IV (1994 Fax +49-69/450464). See explanation for part II above. 5:00 15:16 4.     Bill Laswell and Pete Namlook, “Psychic And UFO Revelations In The Last Days” from Psychonavigation (1994 Subharmonic). Written, arranged, and played by Bill Laswell, Pete Namlook; Axiom ambient, Bill Murphy, Peter Wetherbee; Material, Inc., Tracy McKnight; Subharmonic, Robert Soares. 38:46 20:13 5.     Pete Namlook, Klaus Schulze and Bill Laswell, “Obscured by Klaus, Part III” from The Dark Side Of The Moog 7 (1998 Fax +49-69/450464). Performers, Bill Laswell, Klaus Schulze, Pete Namlook; Written-by Bill Laswell . 19:01 58:54 6.     Pete Namlook, Klaus Schulze and Bill Laswell, “Obscured by Klaus, Part IV” from The Dark Side Of The Moog 7 (1998 Fax +49-69/450464). Written and performed by Bill Laswell, Klaus Schulze, Pete Namlook. 06:37 01:17:54 7.     Tetsu Inoue and Pete Namlook (2350 Broadway), “Ethereal Being” from 2350 Broadway 4 (2007 Fax +49-69/450464). Produced by Peter Kuhlmann (Pete Namlook); written and performed by Tetsu Inoue and Pete Nambook. Recorded at Bretton Hall, New York and Klanglobor Hödeshof, Germany. Linited to 500 discs. 7:00 01:24:28 8.     Tetsu Inoue and Pete Namlook (2350 Broadway), “Sustained Energy” from 2350 Broadway 4 (2007 Fax +49-69/450464). Produced by Peter Kuhlmann (Pete Namlook); written and performed by Tetsu Inoue and Pete Nambook. Recorded at Bretton Hall, New York and Klanglobor Hödeshof, Germany. Linited to 500 discs. 9:35 01:31:21   Opening background music: Bill Laswell and Pete Namlook, “Black Dawn” from Psychonavigation (1994 Subharmonic). Written, arranged, and played by Bill Laswell, Pete Namlook; Axiom ambient, Bill Murphy, Peter Wetherbee; Material, Inc., Tracy McKnight; Subharmonic, Robert Soares. (21:22) 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.  

Episode 124 Trippy Trance Music Origins Playlist   Track Time Start Time Introduction –Thom Holmes 07:14 00:00 The KLF, “What Time Is Love?” from What Time Is Love? (Pure Trance 1) (1988 KLF Communications). Kopyright Liberation Front (KLF), a duo comprised of Jimmy Cauty and Bill Drummond. Cauty was born in Devon, England; Drummond was born in South Africa but grew up in the Dumfries & Galloway area of Scotland. 07:06 07:14 Sven Väth, “Ritual of Life” from Accident In Paradise (1992 Eye Q Records). Music by Sven Väth. Internationally known DJ / producer from Germany. 13:13 14:17 Sven Väth, “Caravan of Emotions” from Accident In Paradise (1992 Eye Q Records). Music by Sven Väth. Internationally known DJ / producer from Germany. 12:22 27:24 Oliver Lieb, “Dimension X” from  Constellation (1993 Recycle or Die). Frankfurt based DJ & producer Oliver Lieb is involved in the production of electronic music since 1988. 16:35 39:36 Pete Namlook & Dr. Atmo, “Trip“ from Silence (1993 Rising High Records). 20:09 56:14 Pete Namlook and Tetsu Inoue, “Liquid Shade” from Shades Of Orion (1993 Fax +49-69/450464). 20:43 01:16:17 Pete Namlook and Tetsu Inoue, “Biotrip” from Shades Of Orion (1993 Fax +49-69/450464). 24:09 01:36:56   Opening background music: Pete Namlook and Tetsu Inoue, “Ethereal Being” from 2350 Broadway 4 (2007 Fax +49-69/450464). Composed, programmed, and played by Pete Namlook and Tetsu Inoue. (07:00) 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.  

Episode 111 Before and After Ambient, Part 2 Playlist Midori Takada, “Mr. Henri Rousseau's Dream” from Through The Looking Glass (1983 RCA Red Seal). 高田みどり (Midori Takada) is a Japanese composer and percussionist. She was a key figure in the Japanese ambient movement of the 1980s. Composed, performed, produced, Marimba, Gong, Cowbell, Recorder, Wood Bell, Ocarina, Tam-tam, Midori Takada. She performed all of the instruments on this album. The album was not immediately popular but seeded the nascent ambient movement that was growing in Japan at the time. Midori Takada, “Trompe-l'œil” from Through The Looking Glass (1983 RCA Red Seal). 高田みどり (Midori Takada) is a Japanese composer and percussionist. She was a key figure in the Japanese ambient movement of the 1980s. Composed, performed, produced, Marimba, Gong, Cowbell, Recorder, Wood and clay Bells, Ocarina, Tam-tam, Cola Bottle, Reed Organ, Midori Takada. She performed all of the instruments on this album. Brian Eno and Harold Budd, “Their Memories” from The Pearl (1984 Editions EG). Composed by Brian Eno, Harold Budd; produced by Brian Eno and Daniel Lanois. David Behrman, “Interspecies Smalltalk Scene 2” (1984) from Leapday Night (1987 Lovely Music). Composed, produced, and computers by David Behrman; violin, Takehisa Kosugi. "Interspecies Smalltalk" (1984) is an interactive piece originally commissioned by the Cunningham Dance Company. Yutaka Hirose, “Light Which Shakes Quietly” from Nova+4 (2019 WRWTFWW Records). Bonus track on this reissued album that dates from 1986. Composed , Arranged and Computer by, Yutaka Hirose; Synthesizer, Jun Tohyama. Takashi Kokubo, “A Dream Sails Out To Sea - Scene 3” (2019 Light In The Attic). Originally released in 1987, this track was part of the new wave of Japanese ambient music. By that time, Kokubo was already reknown for his synthesizer skills on a part with Isao Tomita. He turned to sound design and ambient music and has been instrumental in addition to creating such sounds as the nationally-used mobile phone earthquake alert and credit card payment jingles. Yoichiro Yoshikawa, “Nube” from Cyprus (1988 Eastworld). Original sound track of Japanese TV program. Yoshikawa was already a reliable session musician when he acquired one of the first Phophet-5 synthesizers in Japan. He quickly became a go-to composer for television and other purposes, such as soundscapes for museum exhibitions. Tetsu Inoue, “Low of Vibration” from Ambiant Otaku (1994 Fax +49-69/450464). Before I met Tetsu around the year 2000, I was fascinated by music such as this which had all of the elements of ambient music—slow and forming harmonies, spatial rhythms rather than beats, and a sustained energy throughout—without sounding at all like something out of an Eno production. Produced and performed by Tetsu Inoue. Kenji Kawai, “Ghostdive” from Ghost in the Shell (Original Soundtrack) (1995 RCA). An ambient work from the popular movie soundtrack.Composed, Performed, Produced, Arranged, Keyboards, Instruments, Kenji Kawai; synthesizer, Hironori Houki. Waveform Transmission, “V 1.3” from V 1.0-1.9 (1996 Silent). Analog Tone Engineering and Realization, Recordings Of The Dead, Shortwave, Field Recordings Made During Periods Of Highly-charged Paranormal Activity, Korg MS 10, Korg MS 20, Korg MS 50, Roland System 100 Synthesizers, Home Built Analog Synthesizers, Tape, Loops, Chris Troy; Digital Audio Graphs, Granular Synthesis, Microwave Communications, Psycho-acoustics, Tape, Loops Otari MX 5050 loops, Rod Modell. Experimental Audio Research, “Automatic Music (For Oscillator, Ring Modulator & Filter Clusters)” from Pestrepeller (1999 Ochre Records). UK release, limited to 1000 copies. Engineer, Serge Modular Music System, Sonic Boom (Pete Kember). Some interesting modular synthesizer ambience. John Foxx and Harold Budd, “Raindust” from Translucence + Drift Music (2003 Edsel Records). Composed, produced, and performed by Harold Budd, John Foxx. John Foxx and Harold Budd, “Some Way Through All the Cities” from Translucence + Drift Music (2003 Edsel Records). Composed, produced, and performed by Harold Budd, John Foxx. Pete Namlook, Tetsu Inoue, “Ethereal Being” from 2350 Broadway 4 (2007 Fax +49-69/450464). Composed, produced, and performed by Pete Namlook, Tetsu Inoue. Recorded at Bretton Hall, New York and Klanglobor Hödeshof. Tetsu was an endless collaborator. Here he and the wondrous Pete Namlook wove some ambient magic. Tetsu Inoue, “Kaze” from Inland (2007 Fax +49-69/450464). Written, performed and produced by Tetsu Inoue. This was his post-glitch faze, which brought together, strangely enough, element so his earlier ambient work and glitch music for computers. Masuko Shinji, “Woven Music for Blue Steppe” from Woven Music (2011 Jagjaguwar). All music, vocals and guitar, 増子真二 (Shinji Masuko). This is a project by Masuko, who sometimes works with the Boredoms. It has a characteristic high but sustained energy level that flirts with the outer reaches of the ambient music concept. Caroline Park, “Grain 5” from Grain (2011 Private Chronology). This is a cassette release by Park, often known her for generative composition work and electronic improvisations based on parameters that she defines. Recorded, performed, and mixed between May 2010 and January 2011 in Los Angeles and Boston. Sarah Davachi, “First Cadence” from Antiphonals (2021 Late Music). Composed, Recorded, Performed, Mellotron (bass flute, recorder, oboe), Tape Echo, Sarah Davachi. A recent ambient work by this contemporary experimenter. In the background: An example of ambient music from the program Droneo by Henry Lowengard, which produces self-generating ambient music on a smart phone. “Droneo 1.5 vanDelay and Ape,” (5:25). 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.  

These days electronic waveforms bubble up from every corner of the globe like some kind of benign gas. Wherever they come from, they often share the qualities of flying...or floating. Flying music is rhythm-powered and moves through space, heading for worlds beyond; floating music is goal-free—ethereal, static, and timeless. On this encore transmission of Hearts of Space, another electronic journey in our flying and floating series called FLYING and FLOATING 2. Music is by GREY AREA, PAN ELECTRIC, SNAKESTYLE, COLOURFORM, EMANUELE ERRANTE, CYBERCHUMP, and TETSU INOUE. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

Un album collaboratif entre musiciens, producteurs et bidouilleurs électroniques de génie qui nous plonge dans les profondeurs les plus obscures… The post S06E26 ATOM HEART, Tetsu INOUE & Bill LASWELL first appeared on Radio Campus Angers.

Episode 91 The Silent Episode Playlist Morton Feldman, “Intersection” (1953) from First Recordings: 1950s (1999 Mode). Feldman, like Cage, had already been a proponent of including silence in his pieces. Feldman was a part of the Project of Music for Magnetic Tape (1951 to 1954), an artist's collective founded by Cage to explore experiments in magnetic tape music. From this period came several works, the most famous of which was Williams Mix (1952) by Cage. For Williams Mix, Cage commissioned the recording of hundreds of taped sounds by Louis and Bebe Barron and then specified how to splice them together using a daunting 192-page graphical composition created using chance operations. Cage conceived the work for eight tracks of magnetic tape played simultaneously. The other members of the collective, in addition to helping edit Williams Mix, also created some unique works of their own using the same library of sounds. Feldman was one of these composers but took a decidedly different approach than Cage. For Intersection, Feldman used a graphic score composed of a grid, a method he had been testing for various instrumental works such as Intersections No. 1 for Piano (1951). The score could be likened to a sheet of graph paper with one row assigned to each of the eight channels. Each square, or cell, of each row represented a unit of time to be occupied by either a sound or silence. The sounds were assigned only as numbers representing the lengths of tape snippets to be used, thus regulating the duration of individual sounds. The sequence and simultaneity of the audio was dictated by the “intersection” of sounds and silences across the columns of the score. The realization of the piece was left in the hands of Cage and Earle Brown, who assembled the tape segments by following the grid score. The choice of sounds drawn from the tape library was left to the executors of the score. Whereas Cage had not actually specified the use of silence in the score of Williams Mix, Feldman clearly had, and this is evident from the result. Speaking about the piece later, Feldman famously said that he “loathed the sound of electronic music.” He disliked the labor of executing a piece by cutting up magnetic tape and didn't feel the result was justifiably unique. He also said, “John [Cage] says that experimental music is where the outcome cannot be foreseen. . . . After my first adventure in electronic music, its outcome was foreseen.” 3:24 John Cage Variations I from Darmstadt Aural Documents Box 2 – Communication (2012 NEOS). Two Pianos, Electronics, Radio Sets, David Tudor, John Cage. This German disc is part of the Darmstadt Aural Documents projects and features recordings from 1958. This track was of the European premiere of Variations 1 and was recorded at the International Ferienkurse für Neue Musik Darmstadt September 3, 1958. This track is enlightening because it not only contains a work by Cage with purposefully scored silences, albeit by chance operations, but is also a live recording with an audience. You can clearly hear how the audience responds during the silent passages, mostly in their bemusement. Whereas the implied humor was unintentional, I often experienced this phenomenon while seeing a Cage performance. I wanted to include this as an example of what can happen when silence becomes part of a live performance. Chance operations were used to determine the placement and duration of silences. 8:50 John Cage, “WBAI” (1960) from Early Electronic And Tape Music (2014 Sub Rosa). Sine wave oscillator, record player, synthesizer, radio. Description of the piece from the score in the Edition Peters catalogue (1962) of Cage's works: “Certain operations may be found impossible e.g., 3 or 4 at once. Let the operator do what he can without calling in assistants.” Chance operations were used to determine the placement and duration of silences. This performance for sine wave oscillator, record player, synthesizer, radio. Not performed by Cage and recorded in 2013 by participants following the score. Originally presented on WBAI (NY) as a solo work scored for performance with Cage's lecture ("Where Are We Going? And What Are We Doing?"). From the comments of the score: “This composition may be used in whole or in part by an operator of machines.” Personnel on this disc include, Square-wave oscillator, Auxiliary Sounds, Radio, Robert Worby; Performer, Langham Research Centre Auxiliary Sounds, Cassette, Open-reel tape, Radio, Iain Chambers; Synthesizer, Auxiliary Sounds, Spoken Word, Philip Tagney; Turntables, Auxiliary Sounds, Open-reel tape, Felix Carey. 7:04 John Cage, David Tudor, “Klangexperimente (Sound Experiment)” 1963 from Siemens-Studio Für Elektronische Musik (1998 Siemens Kultur Programm). Interesting collection of tracks by a variety of artists invited to explore the technological possibilities of the early "Studio for Electronic Music" built and run by Siemens since 1956 in Munich and Ulm. In the case of the Cage piece, both Cage and Tudor programmed this work using punch cards, an early computer control device. Chance operations were used to determine the placement and duration of silences. 1:58 Henri Pousseur, “Scambi (Exchanges)” (1957) from Panorama Des Musiques Expérimentales (1964 Philips) is an electronic music tape composition by the Belgian composer , realized in 1957 at the Studio di Fonologia musicale di Radio Milano. Pousseur fluidly added silence patches throughout this piece, using them to create tension due to their unpredictable nature. This is an analog recording, so the silences include an abundance of tape hiss. 6:27 Ton Bruynèl, “Reflexen (Reflexes)” (1961) from Anthology of Dutch Electronic Tape Music: Volume 1 (1955-1966) (1978 Composer's Voice). Recorded in Bruynèl private electronic music studio. Another tape work that shows the potential for splicing in silence as a tool of the composer. The silences are carefully added from about the 2:14 to 4:00 mark to underscore the accelerating pace of the music. Note that the original recording has rumble from what sounds like a turntable, plus tape hiss, so the “silences” are not as abject as they are in digital recordings. 4:41 MEV (Musica Elettronica Viva), “Spacecraft” from Live Electronic Music Improvised (1970 Mainstream). Performers, Alan Bryant, Alvin Curran, Frederic Rzewski, Ivan Vandor, Richard Teitelbaum (Moog Modular synthesizer). The liner notes described the following editing process for this album that includes the random insertion of silent passages within the recorded live tracks: “The tape has been edited and interspersed with silence in accordance with a random number programme to give a representative cross-section of a concert lasting two hours.” 19:50 Maggi Payne, “Scirocco” from Crystal (1986 Lovely Music Ltd.). Composed, engineered, performed by Maggi Payne. This beautiful piece of ghostly, haunting sounds is long enough to create an expectation of a continuous soundscape, only to two drop off in two spots to present long silent or nearly silent passages. 10:26 Mika Vainio, “In a Frosted Lake” from Aíneen Musta Puhelin = Black Telephone Of Matter (2009 Touch). Produced and recorded in Berlin 2008. This piece seems to be about amplitude and inaudible frequencies, frameworked by silences. There is a pattern of eight peak tones from the start to the end of the piece. In between these peaks are quieter sounds and silences, with a tension that leans toward achieving a silent state. 5:53 Giancarlo Mangini, “September 14, 2020, from 4.50a.m. to 5.02a.m. ...and remember what peace there may be in silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique. In this work, there is a steady pattern of silences from start to finish, but the duration of the silences gradually increases in many instances as the work progresses. 11:38 Richard Chartier, “Herein, Then” from Other Materials(2002 3Particles). This disc includes is a compilation of tracks and unreleased works from 1999-2001. Limited to 500 copies. Composed, produced, programmed, and performed by Richard Chartier. As with many of his tracks, Chartier explores the outer reaches of human hearing. Many of the sounds in this track cannot be heard when played on loudspeakers with even moderate background noise. There are actually only two spots of abject, digital silence in this track, although due to the low frequency and amplitude of many of the other electronic tones, you might think there in nothing there. This is a clever, psychological trick. 5:02 Marina Rosenfeld, “Formal Arrangement” from Plastic Materials (2009 Room40). Composed and performed by Marina Rosenfeld. Among the various commissions found on this disc is this solo electronic work. A pattern of silences in which 25 evenly-spaced sound events, mostly gong- or bell-like tones, are each followed by a fade and then a discrete, abject silence. 2:35 Tetsu Inoue, “Super Digital” from Fragment Dots (2000 Tzadik). Composed, Programmed by Tetsu Inoue. I knew Tetsu and he would probably be embarrassed to know that I counted every conceivable “digital” silence in this special piece of music. There are 293 of them that I think one can perceive. Many are short, but because silence is an important structural component of this work, I thought it warranted a fresh listen. The longest of these silences is but 2.5 seconds. The shortness of all the tones, either audible or silent, works together to form a unity. 3:39 Miki Yui, “Balloon” from Small Sounds (1999 BMP Lab). Composed, engineered, and performed by Miki Yui. Recorded in Cologne, Germany. The composer wrote, “small sounds are to merge and fuse with your acoustic environment—please play in a transparent level; in different atmosphere.” In this piece, the silences are placed in the middle of sounds to break up an otherwise continuous noise. 2:57 Opening background music: Mooshzoom, “Silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique. Plus clips from the following as examples: Amelie Lens, “Resonance” from Contradiction (2017 Second State); Nora En Pure, “Norma Jean” from Come With Me (2013 Enormous Tunes). 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.  

Chapters00:00 - Introduction00:36 - Where did it all begin? 05:58 - How did you get into sound design? 09:53 - How did the idea of the DiN label come about? 13:05 - What makes it on to the label?14:43 - What was behind the Tone Science series of releases?18:07 - How have services like Bandcamp empowered labels?22:39 - The 100th DiN release, Nevermore26:13 - What was the inspiration behind Nevermore and what was used to create it?28:17 - What's your story with the Analogue Systems French Connection?31:44 - What are your thoughts on expressive synthesizers?32:55 - Are there any more live performance recordings coming soon?34:39 - What's your personal favourite DiN release of the 100 so far?35:56 - What are the plans for the next 100 DiN releases?37:15 - What's coming up in terms of live performances in the future? 38:58 - What instruments are inspiring you right now? Ian Boddy BiogComposer, sound designer, DiN ambient music label owner & analogue synth aficionado.Ian Boddy first got into composing music in the late 70's in Newcastle upon Tyne, England whilst studying for a degree in Biochemistry. Having fallen in love with the sound-worlds of German electronic bands such as Tangerine Dream, he came across an arts centre that housed a studio filled with reel-to-reel tape machines and analogue synthesisers. Boddy taught himself how to use this equipment through a process of experimentation, thus began a long and successful music career.Specialising in ambient and electronic music, Boddy has three main strands to his musical activities which are run under the umbrella of his own company, Something Else Music Limited.Sound Design:Worked with Zero-G since 1992 to release a series of critically acclaimed sample libraries such as Ambient Volumes 1 & 2, Malice in Wonderland, Ambiosis & Dreamzone.Released 3 Kontakt virtual instruments Morphology, Analogue Sequencer Loops & Outer Limits. In 2008 set up his own brand of downloadable sound libraries under the Ian Boddy Waveforms banner with 4 releases to date. Also done extensive sound design/synth programming work for Native Instruments, Camel Audio, Soniccouture, Sample Magic & LinPlug.Library Music:Worked with DeWolfe Music since 1997 releasing over 20 albums with titles such as Waterworlds, Drones, Living Planet, The Unexplained & The Weather. In total this represents over 500 pieces which have been used extensively in TV, radio, film & documentaries in the UK, Europe, Japan & North America.DiN:Although Boddy has been releasing music since 1980 his main focus since 1999 has been the DiN ambient electronica label. With the release of “Nevermore” the label has released 100 albums with artists such as Chris Carter, Robert Rich, Tetsu Inoue, Markus Reuter, Erik Wøllo, Scanner & ARC. Boddy has performed concerts in the UK, The Netherlands, Germany & USA.https://ianboddy.comhttps://din.org.ukhttps://dinrecords.bandcamp.comhttps://din.org.uk/album/nevermore-din69Audio clips used in this podcast are taken from the album, ‘Nevermore', performed by Ian Boddy. Rob Puricelli BiogRob Puricelli is a Music Technologist and Instructional Designer who has a healthy obsession with classic synthesizers and their history. In conjunction with former Fairlight Studio Manager, Peter Wielk, he fixes and restores Fairlight CMI's so that they can enjoy prolonged and productive lives with new owners. He also writes reviews and articles for his website, failedmuso.com, and other music-related publications, as well as hosting a weekly livestream on YouTube for the Pro Synth Network and guesting on numerous music technology podcasts and shows. He also works alongside a number of manufacturers, demonstrating their products and lecturing at various educational and vocational establishments about music technology. www.failedmuso.comTwitter: @failedmusoInstagram: @failedmusoFacebook: https://www.facebook.com/failedmuso/ 

Episode 35 is an ambient music special with one of the genre's contemporary luminaries and a personal favourite of mine, John Elliott, also known as Imaginary Softwoods. Although he'd be loathe to describe his work as ambient, John's music as Imaginary Softwoods is celebrated for its deep, lush tones, beautiful synthwork, pensive melodies, and thoughtful samples. Perhaps best known for his band Emeralds, which disbanded in 2012, John has been making music as Imaginary Softwoods since 2008, releasing several incredible works on tape and on vinyl over the years, while simultaneously managing the @EditionsMego offshoot label @SpectrumSpools. In this conversation, John and I discuss the ins and outs of making, playing, and releasing ambient music, and what the genre has to offer in 2021. ++ Music: "Another First/Sea Machine" - Imaginary Softwoods (2020) "Overlook" - Tetsu Inoue (2007) "The Imminent Collapse Department" - Imaginary Softwoods (2020) "Court of Failure" - Imaginary Softwoods (2008) "Entrance Through Selenite Pillars" - Imaginary Softwoods (2016) "Vaporware 04" - Donato Dozzy Plays Bee Mask (2013) "Sapphire Point" - Imaginary Softwoods (2019)

Erosion event at the stone of memory, with Sufjan Stevens, Andy Stott, Max Richter, Elori Saxl and Tetsu Inoue.

A disturbance in the night, featuring Beyond The Ghost, Alphaxone, Colonial Skyway, Apocryphos, Tetsu Inoue and Akerius.

About: an Boddy has been composing & performing Electronic Music since the late 1970’s. Having fallen in love with the sound-worlds of German electronic bands such as Tangerine Dream, he came across an arts centre that housed a studio filled with reel-to-reel tape machines and analogue synthesisers. He very quickly started performing concerts & releasing three cassette albums in the early 1980’s followed by a further three vinyl albums. By the 1990’s he was regularly releasing music on CD as well as performing both in the UK & on the continent. He also developed further musical strands of activity with his sound design work releasing a series of critically acclaimed sample sound libraries & virtual instruments as well as composing an impressive roster of library music tracks, most notably for DeWolfe. In 1999 he set up the DiN ambient electronica label which sees it’s 20th anniversary this year. There has been over 80 releases on this label with contributions from an international roster of artists such as Robert Rich, Bluetech, Node, Markus Reuter, Tetsu Inoue, Chris Carter, Erik Wøllo etc. Boddy has recently expanded the reach of DiN with the release of the two volumes of Tone Science which are albums focusing in on artists performing music on modular synth systems. Links: www.ianboddy.com www.dinrecords.bandcamp.com www.patreon.com/ianboddy

Tetsu Inoue, Karmic Light, Ambiant Otaku Clara Mondshine, Caesar In Camerun, Memorymetropolis The Shamen, Scientas, Boss Drum Gökçen Kaynatan Ve Elektronikleri, Evren / Sihirbaz, Sihirbaz / Evren Antonius Rex, Magic Sadness, Ralefun John Baker, Pots 'N' Pans, The John Baker Tapes Volume 2 Joe Renzetti & Tony Luisi, Sally Simpson, Electric Tommy (The World's First Rock Opera) Derek Austin, Starscape, Synthasia Leonard Nimoy, Alien, Mr. Spock's Music From Outer Space Vera Gray - Desmond Briscoe, Moving Percussion, Listen, Move And Dance No. 4 Fifty Foot Hose, Fantasy, Cauldron Walt Rockman, Sea Pollution, Pollution Richard Pinhas, Rhizosphere Sequent, Rhizosphere La Formule Du Baron, Cha Tatch Ka, La Formule Du Baron Eloy, Horizons, Colours Mythos, Dreamlab, Dreamlab Pierre Arvay, All Day Long, Metal Sunrise Zed, Bene Gesserit, Visions Of Dune Moon Wiring Club, Treacle Scryer, Today Bread, Tomorrow Secrets (After-Show Supper Edition) Tim Souster, Music From Afar, Swit Drimz Franco Delfino, Gel, Astrattismo 3 The Brian Bennett Band, Clearing Skies, Thunderbolt The Ian Langley Group, Amazon Trail, Reggae For Real (And Other Rhythms) Mr. Matsutake Hideki, Naotake Naota (Naguroro), Masashi Komatsuhara, Part. 2 Town of Edo ~ Kitamachi · Minamicho · Edo Great Fire · Woodpecker · Daimyo Cosmos · Edo Castle, Edo Joel Vandroogenbroeck, Computer Graphic, Computer Blossoms Orenotter, Centaur Transformation Hypnosis The Electrosoniks, Orbit Aurora, Electronic Music Malaria!, Mensch, Emotion Growing Up, The Care Bears Movie II Audion, Uvular, Suckfish Cusco, Galapagos, Galapagos Toru Hatano, Kaiso, Love For You (O.S.T.) Michael Lobel, Make A Joyful Noise Unto God, All Ye Lands, Trip-Tych / The Sound Paintings Of Michael Lobel Robert Ashley, Flying Saucer Dialogue, Music From Mills Sven Torstenson, Riding Pegasus, Drugs Patrick Cowley, Cat's Eye, Muscle Up The Secret Of The Sword Starring He-Man And She-Ra

Wandering among fields of crystal, with Harold Budd, Brian Eno, Biosphere, Tetsu Inoue and SETI.

Wandering among fields of crystal, with Harold Budd, Brian Eno, Biosphere, Tetsu Inoue and SETI.

‘I'm just pretending … as if I'm preparing for a space journey, and the space journey, it takes many years.' Aziz After months of interviews, Aziz finally sits facing an immigration officer and an interpreter, about to find out whether he's been granted refugee status. But he's too angry to talk about that. What he'd rather know is why he's just spent weeks locked in a jail cell in Lorengau, before being abruptly released without charge. In this episode, Aziz tells Michael about the hunger strike that lead to his imprisonment, and why he continues to pursue big and small acts of resistance – despite the consequences. Transcript Download a transcript of this episode in Adobe PDF format. In this episode Abdul Aziz Muhamat Michael Green Our theme music was composed by Raya Slavin. Music used in this episode includes ‘02-15-02' by Taylor Deupree and Kenneth Kirschner, ‘Ambient Head' by Atom Heart and Tetsu Inoue, ‘Variation for Oud and Synthesizer 2' and ‘Rhodes Viola Multiple' by Keith Fullerton Whitman, ‘Helix' by Radian, ‘There Are Other Worlds (They Have Not Told You Of)' by Jan Jelinek Avec The Exposures, ‘Plastic Energy Man' by Papa M, ‘People are Friends' by Biosphere, ‘Biokinetics 2' by Porter Ricks, ‘Pilot' by Markus Guentner, ‘Twenty' by Labradford, ‘Miracle to Fill My Life' by Abe Duque, ‘Changeling' by DJ Shadow, ‘Summa Afrique (Oren Ambarchi remix)' by Tape, and ‘We Let the “S” Hang in the Air' by Brokeback. More information The Messenger is a co-production of Behind the Wire and the Wheeler Centre. It's produced by Michael Green, André Dao, Hannah Reich and Bec Fary, with Jon Tjhia and Sophie Black at the Wheeler Centre.Narration by Michael Green. With reporting by Abdul Aziz Muhamat. Additional fact checking by the Guardian's Ben Doherty; transcription by Claire McGregor, Tiarne Cook, Eugenia Zoubtchenko and many more​. This episode was edited and mixed by Bec Fary and Jon Tjhia. Thank you Dana Affleck, Angelica Neville and Sienna Merope. Also to Hani Abdile, and to Behind the Wire's many participants and volunteers. Behind the Wire is supported by the Bertha Foundation.See omnystudio.com/listener for privacy information.

The flowering of an electric hammock, with David Cross, Robert Fripp, Christopher Bissonette, SETI, Tetsu Inoue and a host of others.

The flowering of an electric hammock, with David Cross, Robert Fripp, Christopher Bissonette, SETI, Tetsu Inoue and a host of others.

This edition features electronic pioneers from the 1970s, 90s, and some of today’s forward-thinking producers. The hour includes music from Pete Namlook, Tetsu Inoue, a collaboration between Ólafur Arnalds and Nils Frahm, and many more. Listen and enjoy below. Artist/Song/Release/Year 01. Conrad Schnitzler / Ballet Statique / Con / 1978 02. F.C. Judd / Molecules In Space … Continue reading →

本期我们讨论了 Rio 在苹果网站订购 iPhone 6 的惨痛经历，为什么李如一对于苹果送 U2 新专辑给用户的做法感到愤怒，以及究竟什么是真正的「技术进步、文化退步」。iOS 8 已经发布，请各位听众尽快升级吧。 相关链接 LCD Soundsystem James Murphy James Murphy 和 IBM 合作的把网球比赛数据转化为音乐的项目 Metasynth Tetsu Inoue 算法作曲 IT 公论：Kindle Unlimited 与 Overcast A Book Apart 人物简介 李如一：字节社创始人。 Rio: Apple4us 程序员。

Finally, today is feeling like Autumn. This is a set of some of my personal favorites including from my childhood. Artists included are Agnes Buen Garnas-Jan Garbarek, The Irresistible Force, Tetsu Inoue, Lamb, Banco De Gaia, Wings, and more.

Ello! As always thanks for checking this out and we hope you enjoy this episode. As you can see we've been changing the look around on our blog. Special thanks to our producer Vic for all his contributions. Be sure to check out our links and read what's going on with us on our personal blogs.Until episode 4 download and stay tuned... Peace*Special thanks to Scott Da Ros from Amon Tobin's management company for getting us permission to play a track from "Kitchen Sink Remixes". PlaylistRadioAutomata Intro…OOIOOTrack: AsozanAlbum: Feather FloatLabel: Birdman2001Amon TobinTrack: Kitchen Sink (Clark Remix)Album: Kitchen Sink Remixes 12”Label: Ninja Tune2007Animal CollectiveTrack: CobwebsAlbum: Watercurses EPLabel: Domino2008Robert AshleyTrack: Automatic Writing (Edit)Album: OHM: The Early Gurus Of Electronic MusicLabel: Ellipsis Arts2000CorneliusTrack: Fit Song (The Books Remix (Eat White Paint))Album: Breezin' [SINGLE] [IMPORT]Label: Wea/WarnerOctober 9, 2006Martina Topley-BirdTrack: IlyaAlbum: QuioxticLabel:Independiente/Sbme2003AutechreTrack: NineAlbum: AmberLabel: Warp Records1995Beach HouseTrack: GilaAlbum: DevotionLabel: Carpark2008Atlas SoundTrack: Recent BedroomAlbum: Let the Blind Lead Those Who Can See But Cannot FeelLabel: Kranky2008PortisheadTrack: HunterAlbum: ThirdLabel: Island2008RIP--->Mikey DreadTrack: Break Down the WallsAlbum: Beyond World War IIILabel: Heartbeat Records1981King TubbyTrack: Mr. Chin (Version)Album: 7X7: Lee "Scratch" Perry Vs. King Tubby In DubLabel: Fuel 2000 Records2003FaustTrack: Giggy SmileAlbum: Faust IVLabel: Blue Plate Caroline1973The CurtainsTrack: WysteriaAlbum: CalamityLabel: Asthmatic Kitty2006Tetsu InoueTrack: InterlinkAlbum: World ReceiverLabel: Instinct Ambient1996BroadcastTrack: Dave’s DreamAlbum: The Future CrayonLabel: Warp2006SquarepusherTrack: Circular Flexing (Yee King Remix)Album: Maximum Priest EPLabel: Warp1999ShriftTrack: SereiaAlbum: Lost In A MomentLabel: Six Degrees2005

I was having a tough time coming up with an idea for a new mix. The shortwave mix, a drift on the signal, is one of my favorite mixes so I decided to do a sequel. And thus, through ionospheric transit, comes...a ghost in the phase. The formula is pretty much the same as before, a nice mixture of real shortwave radio recordings & ambient music with shortwave elements. Most of the shortwave stuff comes from the Shortwavemusic blog. That's the same source I used for the last shortwave mix. It's run by Myke Weiskopf. Here are a couple of his other sites... Myke Weiskopf & Myke's Live Journal Lots of cool sounds at all three sites. After the last shortwave mix a listener said it reminded him of Tetsu Inoue's World Receiver. How could I have forgotten that disc?! This time I made sure to include it. It's such a fantastic recording. You can buy it from Infraction records . Another excellent release that made it into the mix is the new one from Steven Mathieu called Radioland. Check it out. The Entia Non & krill.minima & Unproduct cuts are all available for free download. The times in this tracklist are just approximations. Sometimes there are several cuts playing at once, things fading in & out, etc. T R A C K L I S T : 00:00 - Pulse Wave FX & JBO Tokyo Radio 00:16 - Entia Non - Cultural Plagiarism 01:28 - Fennesz - A Year in a Minute 04:33 - Myke Weiskopf - Shortwave Condensation 05:55 - Djivan - dle yaman 06:56 - Cairo Radio 07:45 - Punkt - Speechless 08:24 - Cairo Radio 09:13 - Rod Modell - Aloeswood 12:38 - Tetsu Inoue - Elevator Drops 19:05 - Steven Mathieu - Aufder Gasse 22:45 - Fennesz & Sakamoto - Aware 26:37 - Radio RASD 26:54 - My Fun - Signal Drift 29:06 - Felicia Atkinson with Sylvain Chauveau - Aberdeen 34:11 - Chris Bissonnette - Traveling Light 40:00 - WEWN 40:46 - Post-Soviet Melancholia Pt. V: "Мой Рок и Ролл" via Russian International Radio 42:40 - krill.minima - Projektor 45:34 - Myke Weiskopf - The Grotesque 46:23 - Unproduct - Radio Canvas 3 46:52 - numbers 47:40 - pulse transmission 50:30 - Rameses III - Origins IV May 25, 2007 53:20 - Steven Mathieu - Radioland 02:30 - Pulse Wave FX

Late September Summer here in the Netherlands, lots of hi temperatures, lots of sweat and again some heavy thunderstorms last night...Like the music for today's show: uptempo with an unpredictable twist! Private Dancer brings you a nice groovy flow of (most)podsafe dancemusic followed by some serious chillout. Have a look into the 'songtext tab' in iTunes for the Music Cue Sheet. Don't pay attention to this cold I had while doing the show, you'll be sweating anyway! MUSIC CUE SHEET for show #34 00:00 'I found you' by Interstate 04:22 Welcome to Spacemusic #34 - UPTEMPO! 05:24 'Seratone' by Jason Corder 11:22 'FLushbed' by Benfay (Jason Corder REMIX) 17:18 'Deja Hue' by Jason Corder 25:10 'Laguna' by Brian Cage 29:00 'Ride' by Timm Kawohl 34:00 'Acid Eifel' by Choice 45:30 'Ebb&Flow' by Off the Sky 47:50 'Chill in Chill out' by Tetsu Inoue 58:00 Konacoffee.com brings me Joy / Tracklist for today's Show * Info: opening #31 - Costa Europa / Vangelis performs 'Alexander' * Thank you all for donations! * Thank you for Voting for Spacemusic at Podcastalley.com * Hot days combined with the cold....brings you SWEAT :-( * Next show: September 17th 2005 * http://www.spacemusic.nl http://spacemusic.libsyn.com spacemusic.nl@gmail.com