Wednesday, November 14, 2018

chimescape #76 / invented instruments # 97

"Gnashing, thrashing and teeming with enchanting microtones – Machine Guitars is the definitive recorded work of Remko Scha, although the late Dutch artist didn't play a single note himself. Rather, Scha arranged a motorized, rotating wire brush and saber saw in front of suspended electric guitars and let these metallic torrents flow.
Scha was a linguist and generative artist, enamored of computers' capacity for algorithmic creativity. A leading researcher at the University of Amsterdam, he also cofounded the famed arts-space Het Apollohuis in a former cigar-factory in 1980. This haven for intellectuals and underground autodidacts served as the recording studio for most of Machine Guitars (as well as Ellen Fullman's brilliant The Long String Instrument), which originally appeared in 1982 on the small Dutch label Kremlin.
Machine Guitars, as the critic Byron Coley has noted, ranks among the best of the era's minimalist-inspired, avant-garde guitar statements by Glenn Branca and Rhys Chatham. The semiautonomous sound-making sculptures also evoke contemporaneous work by Christian Marclay. Scha's work falls somewhere between conceptual art and avant-garde music – a total revelation for minimalists and No Wave fans alike."

Monday, November 12, 2018

mouth music (stutterspasm)

release rationale:

Colin Self’s Siblings is a proposal for interdependence, critical joy, and an expansive sense of being. As the lyrics beam, “I used to live as an anomaly... no explanation biologically,” so siblings share hidden language, lore, and identity. On Siblings, ecstatic voices and sound knot to form new ideals of kinship, emerging as horizontal relations for multi-species flourishing. Limited edition vinyl includes multi-format digital download.

from FACT magazine:

"Experimental musician and performance artist Colin Self has announced the release of Siblings, the sixth and final segment of the artist’s opera series Elation. Siblings – which is described by RVNG as a “sound scrapbook” – sees Self combine snatches of conversation with recordings of vocalists from Xhoir, a “non-utilitarian vocal workshop” led by the artist. The opera centres around a loose narrative that challenges gender binaries and explores unconventional familial dynamics. Inspired by the work of theorist Donna Haraway, author of A Cyborg Manifesto, the opera tells the story of a non-biological family as they “generate ways of collectively coming together on a damaged planet”, featuring a cast that includes experimental musician Michael Beharie, percussionist Greg Fox and The Mivos Quartet.

Colin Self is perhaps best known as one third of Holly Herndon’s live band and has also collaborated with Amnesia Scanner. The Siblings live show which combines experimental theatre and vocal performance, premiered last year at Donaufestival in Austria."

Thursday, November 8, 2018

suuhun musiikkia ( pilkottu laulaa jauhautunut nykiminen)

release rationale:

"The most striking detail of ‘Another Life' is Amnesia Scanner's use of both human and inhuman voices. The latter is provided by the latest addition to the production unit, a disembodied voice called Oracle, which represents the sentience that has emerged from Amnesia Scanner. Oracle's vocal performance ranges from exuberant mania to anxious dread and beyond. Coupled with the pop song structures that Amnesia Scanner employs for the first time, the avant-EDM productions  of ‘Another Life’ evocatively explore a schizophrenic present marked by narratives of a slow apocalypse or salvation via technology. Indeed, the lullaby of 'AS Another Life' swings between trill hope and casual 
threat, lending a precarious gait to the song's staggering rhythm. The album's first single, 'AS Chaos', is its most powerfully direct track, with Pan Daijing’s English and Mandarin vocals taking over for Oracle. At its peak intensity, as in ‘AS Faceless’, Amnesia Scanner's doombahton overheats into nu-metal-gabba. "

from the Dazed interview with Amnesia Scanner by Lewis Gordon:

Ville Haimala: .... On the new record, we wanted to create a voice for the project – what we call ‘Oracle’. It’s not a sentient being, but a stack of software, and the end product coming out of it is this voice. Perhaps it’s got a little bit of its own will as well.

Martti Kalliala: This isn’t actually automation, but another important factor in what we’re doing is using platforms such as Fiverr to commission sound work. We’ve outsourced a lot of small things here and there.

What have you outsourced?

Martti Kalliala: Voice work, for example. For a long time, the question was, ‘How do we bring a voice into this, but avoid that dynamic of the beat producer and the vocalist? Whose voice is it, and how do we frame that voice?’ The way to do it was to somehow anonymise the voice. We could just buy these disembodied voices from the other side of the world and start to do things with them.

How has Oracle and the use of its voice impacted the record?

Ville Haimala: A lot of the things that Oracle does on the record is almost kind of mimicking pop tropes or gestures. Increasingly, pop music is built around memes. These hooks turn into memes, and artists apply their memetic hooks over and over again. Everyone’s happy with it. When we started the album, it was also about studying song structure and what happens if we package our very intense sonic world more traditionally."

Friday, November 2, 2018

James & Janes

gorgeous tune, and unlike any other I can think of, off the top of my head - in  the gait of its groove and the way the vocals soar and hover.

Rick James's finest moment?

He had some moments

This is sort of awful yet undeniable

so jumpy, so full of beans - so kitschily in yer face

Somehow I have never actually gotten around to listening to Street Songs, or indeed any Rick James album apart from the LP that this is the title track of

whole LP is excellent and was written up at the time by Barney Hoskyns as a case of Rick beating Prince at his own game i.e. synth-ified funk with a New Wave tinge

Thursday, November 1, 2018

mouth music (crumbly croaky swallowed)

an early one that's not that mouth-music-y but a pretty video using an effect that i'm surprised no one thought of before

Monday, October 29, 2018