Friday, April 20, 2018

mouth music (voice snow, voice wind)



"The text consists of inuit words for various kinds of snow : apingaut , first snowfall; mauyk, soft snow; akelrorak , drifting snow ; pokaktok , snow like salt"

performers: Elektra Women's Choir

alternate version



more elemental music by R. Murray Schafer



"The wind, like the sea, possesses an infinite number of vocal variations...The wind is an element that grasps the ears forcefully. The sensation is tactile as well as aural. How curious and almost supernatural it is to hear the wind in the distance without feeling it, as one does on a calm day in the Swiss Alps, where the faint, soft whistling of the wind over a glacier miles away can be heard across the intervening stillness of the valleys. " - R. Murray Schafer



"All modern languages have colourful words to describe sound qualities. Numerous exercises could be devised to explore language onomatopoeia, starting by simply making lists of words in your own language that illustrate in sound the notion or object they are describing (gurgle, splash, bubble, smack, pop, etc.). But an exercise I prefer is to invent words in your own private language with onomatopoeic qualities. Try inventing some to illustrate the following: bell sneeze a bomb exploding a cat purring moonlight Here, for example are some onomatopoeic inventions for 'moonlight' given to me by 11-year-olds..."
- R. Murray Schafer




voicescape as chimescape




voicescape as chimescape #2


horse loop



soundtrack by Eno

beak-mouth (mouth-beak?) music

chimescapes (14 of ???)









plastics x 2






bonus plas bit



somewhere between punk and Pink

between shite and shiter

glowfi for the eyes



Video by Synopsis Music by Steve Roach Graphics by Denise Gallant/Brian Samuels from California Images:HiFi For The Eyes

our own very private idaho




similarly themed



eat my schwarz











chimescape (13 of ???)


GAMELAN SON OF LION's gamelan in the new world vol. 1 + 2 from vulcan gas company on Vimeo.

spurts

Thursday, April 19, 2018

beak music (bonanza!)

As written about in the new issue of The Wire by Francis Gooding, a massive public archive - anyone can upload or download - of bird song from all around the world: Xeno-Canto

396735 recordings! 9830 species! Nearly 6200 hours worth! 

I reckon they should start a special subsection for musical compositions based on bird song - samples or transcribed melodies.

That's my excuse to post this again:



Would dearly love to get the rest of this cassette by Ron Nagorcka - Lovregana: Music From A Tasmanian Forest - anybody got it?

cosmic twee



one of my favorite songs, whose existence i had quite forgotten about until revisiting the psych section of an earlier work


this is not one of my favorite songs, but I admire the "on point" era-chiming name, presumably a reference to the children's favorite 




the children's favorite later desecrated by hairy counterculturalists (you may wish not to click, it's hard to unsee)

a fost mâine














it's a good story  but i must say i don't love this stuff - it's a bit brash and well, grating



still it does hit the "lost future" meets Ostalgia sweet spot

capn boogie





shatire more like





no twit like a twit who thinks he's cleverer than

it would be almost listenable, in patches, if not for his awful personality suffusing every fibre of the sound

that voice!

the worst song in the world



"What is this shit?"  - Ike Turner

snirtle







hastings




austronica

concrete down under

concrete and colour separation







more on Cantrill - sorry, on Cantrills


artists influenced by Arthur and Corrine - not sonically but visually 



Pink and White Terraces by Nova Paul from bob stein on Vimeo.

mouth music (i'm wishart on a star) (very very clever trevor indeed)















Tuesday, April 17, 2018

psychotic reactions



always thought this was the best version (off of Pebbles Vol 1)

never knew that Positively Thirteenth O'Clock = Mouse and the Traps in disguise

Here's a not great version by The Fire Escape, who also nicked the song title as their album title



(i like that scoundrelly Sixties practice of rushing out a cover version in the hopes that confused consumers would buy the wrong version)

the original



this got to #5 in the US charts! exciting days



the guys look like they can't believe their luck

there's been a shitload of cover versions - at the time and then later

hard to go wrong with it in some ways





then again



that involved an early JJ Cale

Much better is this groovy soul version




punk-era







Eighties psych-redux and nu-garage






we'll skip the Cramps shall we?

ditto Tom Petty + Heartbreakers


unclassifiable 



briefly covered / defaced amid "Swastikas On Parade" from The Residents Third Reich N Roll




Ah almost forgot about this echo


A rave and hardcore compilation from 92 that I reviewed at the time

Quite a few of the tracks on it are "in the spirit" of the Count Five / Positively Thirteenth O'Clock

Like this immense tempest by Holy Ghost Inc, titled "Jihad" on Give Peace A Dance Vol 3 but "Psycho Missus" on their own 12 inch EP (one of the grrrrrrrreat H-core EPs, going for as low as $2 on discogs)



Holy Ghost = one of my hardcore heroes

Here's a review of Nuggets where I trace the spiritual affinity between garage punk and bedroom rave

More madness from Give Peace A Dance Vol 3 (madness enlisted versus M.A.D.-ness i.e. mutually assured destruction - all profits and royalties to CND)







And some slightly mellower madness



(where does that "it'll make you go ooh na na na" sample come from then, peeps?)

Mellower still



Madder again



Interesting that the compilers would go with the subtitle "Psychotic Reactions", wonder if they knew their Sixties garage punk. It's a good title and serves to differentiate from the previous volume of Give Peace A Dance, which was subtitled "The Ambient Collection"


mouth music - the original mouth music




from this album


kiwitronica (1 of ???)




















Sunday, April 15, 2018

mouth music versus chimescape (1 of ?)





"June 21 (summer solstice) of 2012 in the maze of alcoves of Oakland's funeral home, crematory and columbarium Chapel of the Chimes"

chimescape (13 of ???)



[via post-ambient]

Saturday, April 14, 2018

chimescape (12 of ???)




[via post-ambient]

Friday, April 13, 2018

száj zene

a fost mâine







bolo to zajtra



burnos muzika





bu yarındı





munn musikk

den tapt fremtid

alt-hist




and this one I watched in 1978




SS-GB on TV is due soon, isn't it?

always think it's a bit lazy that so many "if Axis Powers won WW2 "novels involve detective or police based plots.... i suppose it's a way of having a narrative that cuts across many levels of society or the power structure, or exposes the nefarious inner doings... but it would be more interesting to have the perspective of more 'bystander' type figures... which is what Philip K. Dick did so brilliantly with The Man in the High Castle (although with more power-structure type plot lines worked in there as well). I have no idea if the TV version of Man in High Castle carries that across - I suspect not - because i stopped watching it after two episodes, just couldn't stand it - mostly the look of it, that obviously CGI-d look of buildings, cityscapes etc. And the cheap noir and action-orientation.  How much more chilling and effective to show an altered world from its nondescript, backwater zones

Monday, April 9, 2018

It's Different for Gils



jazzer who got the electronics bug big time resulting in this classic OST

and then this



here's Gil showing off his self-cobbled instrument the Percussotron




The Andromeda Strain vinyl was released in hexagonal form - a gimmick worthy of Underground Resistance




another OST



a TV theme tune?



more TV stuff




well he kept on doing stuff with synths and drum machines

squeakadelic (magneto Peru, is it you?)







chimescapes (8 of ???)

Voix Inouïes

száj zene (souvenir de K.)

mouth music (futurist octet)

rock 74




ah! i was puzzled why it was called All That Glitters, given that the no-hoper prog group is not exactly glittery

and it turns out that is part 2 of a doc, whose first bit is all  about the very glittery (and successful)  Sweet

and in odd appropriateness, the first glammer part is filmed in full-colour, and the second glummer part in black and white

blockhead(s)





be Stiff? - both were (at least for a moment, in Devo's case)

i feel a  musical resemblance here:





well i have mooted a bunch of times now that Blockheads = best Brit groove band since the Stones

and in a sense Devo are perhaps the greatest antigroove band of all time... but to antigroove actually requires being able to groove in the first place (no surprise in a way that Casale was schooled in blues of every kind)



and that one just purely rocks immensely

rearranging the grammar of rock with a radical stringency as surely as Gang of Four or Television

the full EP on which "Blockhead" (Devo's) first appeared



well you learn something everyday, i did not know that EP even existed



Tuesday, April 3, 2018

the incineration loops









"Nostalgia", from the Hapax Legomena series

bonus exp. film













wonder if this is where Eno got the name of his experimental rock group of very-end-of-Sixties

biographer says it comes from a thought experiment of physicist James Clark Maxwell


Thursday, March 29, 2018

animasonix (Piotr + Bernard)

















(via Bollops at Found Objects)

the first three at least are definitely soundtracked by Parmegiani

reviewing a Bernard P box set, I noted direct parallels between the processes of animation and musique concrete

"In the booklet accompanying L'Oeuvre Musicale, Parmegiani talks revealingly about an artistic past-time that preceded his adventures in sonic fiction: photomontage. He'd cut out a large number of image-fragments from magazines--human limbs, machine parts, etc--and then glue them into surreal assemblages. His music-making would follow a similar process, starting with the building-up of a sound-bank, an inventoried miscellany of noises, before embarking on composition. Compared to the photocollages, though, Parmegiani's music has at least one extra element: life. It's analogous maybe to animators who use stop-motion film techniques to bring a queer vitality to their materials, whether three-dimensional puppets or photographic and illustrative material (as with Terry Gilliam's Monty Python collages). "I do consider sounds as living things," Parmegian has said. But with concrete as with animation, the movement in the musique is life-like but umheimlich."


Bernie soundtracking one of his own experimental films



Now a lot of this concrete for cartoons and experimental shorts was rounded up, unofficially, by a label that called itself New England Electric Music Company for a six part series of mini-CD-Rs.

This label would seem to be the immediate precursor to Creel Pone:

"... named after the original New England Electric Music Company from the early XX century, which funded Thaddeus Cahill's ambitious plan to transmit music, produced on his Telharmonium, to hotels, restaurants, theatres and private homes via the telephone network. This visionary project (preceding the concept of online music streaming for generations) failed due to high costs and potential interference with telephone calls on the same line. The description on the website mixes reality with fiction, describing Thaddeus as our contemporary and Whitman' "good friend": 

"The New England Electric Music Company was set up by our good friend Thaddeus Cahill to make rare, obscure, and unreleased historic electronic music available to individuals on a local basis. All NEEMC releases are lovingly researched and sourced by Thaddeus throughout the world, mastered in the Math Lab by Hrvatski, designed by Pieter Christophssen and manufactured in small runs in the Reckankomplexreplication bureau by the Reckankreuzungsklankewerkzeuge staff. They are sold to local music stores on a not-for-profit basis".



Koonce thinks he's Parmegiani

Pritchard to the converted



Damn! if I had known this was being reissued in March of last year I would have attempted to review it or write up the story of its making somewhere or other

I came across the vinyl of Nocturnal Earthworm Stew by Canadian radiophonics dude David Pritchard about a decade ago. Knowing nothing about the artist, but going through a phase of intense interest in all things Island Records and pre-punk Seventies, I decided to take the leap despite the not-cheap price tag and was not disappointed. It's a delightful oddity, laced with late-period Can whimsy, and it's electronic and stereodelic aspects would make it Creel-worthy I should have said.

Here's what I said about it on Blissblog back in 2008:

"A real curio stumbled upon in my local used record store, grabbing my eye on account of the title and the fact it was on Island in 1976, yet I'd never heard of the artist. Turns out he was something like the Canadian David Vorhaus, or more like their one-man equivalent to the Radiophonic Workshop (interesting how so much of the post-War avant-garde was linked to national radio stations: WDR in Cologne; the Experimental Studio department of RTF in Paris; the Studio Fonologia Musicale of Radio Italiana in Milan). Pritchard did a freaky all-night radio show for CHUM-FM in Toronto in the late Sixties and early Seventies, then went on to found a long-running operation called Sonic Workshop doing adventurous audio projects for some 30 years. The release date--1976, that liminal year--is signficant: aspects of the music hark back to Eno, Faust, the pre-Autobahn Kraftwerk, Uncle Meat Zappa; other look forward to Cabaret Voltaire, TG's 20 Jazz Funk Greats, Der Plan. I wouldn't say this record is quite in either of those leagues; there's a whimsical/willfully wacky/messing-with-FX/ooh-look-at-all-my-synths (every piece of gear and every treatment used is itemized in classic Tomita style) that equally brings to mind Godley & Crème with their Gizmo or Peel Show quirksters like Morgan Fisher. Yet (like Radiophonic Workshop or much of the stuff on Daphne Oram's Oramics) there's that aspect where it's all the more enjoyable for being grounded in the pragmatic/mercenary, no-nonsense-yet-gimmicky-and-Goonsy world of radio and commercial jingles, radioplay Foleys and sound FX, interstitional muzik etc. Mind you, the second side--"Nocturnal Earthworm Stew" itself--is actually a side-long opus/sound-suite intended as "an electronic rendering of the night"--which suggests a certain grand ambition.

Release blurb:

Nocturnal Earthworm Stew is a glorious experiment in electronic music, capturing the vitality and early curiosity of the 1970s. An earlier press statement called it "Serious headphone music made under the influence of Stockhausen, John Cage, Ornette Coleman, Stravinsky, Frank Zappa, Weather Report, Charles Ives and others." The influence of prog and space rock is pronounced, and contributions from Canadian prog legends Nash the Slash and Martin Deller (of FM) solidify Nocturnal's place in the prog cannon. The website Prog Archives calls Pritchard a "pioneer in experimental, cosmic-synth electronics." 

The Artoffact Records reissue is housed in a gorgeous gatefold sleeve, complete with photos, reproductions of essays by David Pritchard and Nash the Slash, and an all-new piece by Scott McGregor Moore. The audio is remastered for vinyl across three sides, and a fourth side contains a marvellous etching of Pritchard himself. Bonus tracks that were never pressed to vinyl are also included. A special collectors' edition on cream-coloured vinyl is also available.

mouth music (See/Hear)

Wednesday, March 28, 2018

mouth music (oh see can you say)



mouth music (whim seas streams of consciousness onomatopoeia spoke inn whirr’d freestyle poetree)



release rationale:

about the artist
tay_ploops is jessica gabriel who is a multidisciplinary artist, puppeteer, life model, permaculturalist, poet, clown, currently based in vancouver, canada. using tape loops and other (un)sound textures. gathering gumption for growth and decay. an ongoing exp(lore)ation of lo_fyi sketches from handheld casse-tête tape reek or dings.

about the album:
spool oops is filled with recent whim seas, streams of consciousness, onomatopoeia spoke inn whirr’d, freestyle poetree, solo loops collage, old tapes cut intu haphazard (in)precision. 

about the label: 
pan y rosas discos is a small netlabel based in chicago that focuses on experimental: noise, improvisation, and weirdo rock. we believe that music should be available to listeners for free and all the music that we release is licensed under a creative commons attribution-noncommercial-no derivative works 4.0 unported license

Rapsodia Meccanica vs. fabbrica illuminata



Symbolisme Psychedelique



Friday, March 23, 2018

chimescapes (7 of ???)



available on Numero Group's ambient sound app Environments , which contains all of Irv Teibel of Syntonic Research Incorporated's  long form field recordings  designed for audio-therapy and lifestyle chillage.

from the press release:

"Environments began as an unprecedented series of vinyl records, garnering widespread acclaim and selling millions of units. Now Environments steps into the mobile age as an invaluable and unique sonic tool for the way one lives. Numero has created a new form “the reissue app” transforming all 22 of Teibel’s environmental soundscapes into this new app. Each unique track on the app features the original album art and the history behind the recording. You can also customize your own track list with your favorite sounds from the "Psychologically Ultimate Seashore” to a "Caribbean Lagoon,” "Country Thunderstorm” and even the “Ultimate Heartbeat” featuring the sounds of a real human’s heart."

more information herebuy it here

Irv Teibel's story at Atlas Obscura


Thursday, March 22, 2018

Wednesday, March 21, 2018

chimescapes (6 of ???)



(via Bruce)

release rationale: 

Musique Hydromantique is the second solo album by Tomoko Sauvage archiving many years of her performance-based practice on the waterbowls – the natural synthesizer of her invention, composed with porcelain bowls filled with water and amplified via hydrophones (underwater microphones). While her first album Ombrophilia (released on and/OAR in 2009) was studio-recorded /composed work, Musique Hydromantique is about experimentation and improvisation with the environment – acoustics affected by the architecture, temperature, humidity and the human presence.

For more than ten years, Sauvage has been investigating the sound and visual properties of water in different states, as well as those of ceramics, combined with electronics. Water drops, waves and bubbles are some of the elements she has been playing with to generate the fluid timbre. Since around 2010, hydrophonic feedback has been an obsession for the musician – an acoustic phenomenon that requires fine tuning depending on the amount of water, a subtle volume control and interaction with the acoustic space.

Calligraphy was recorded in a genuine echo chamber, with about 10 second reverbs, situated in a former textile factory. Like an endless exercise to draw perfect curves and forms floating in the air, the subaquatic feedback frequencies are pitch-bended with the mass of water sculpted by a hand changing its quantity. Fortune Biscuit is about the singing bubbles emitted from the pieces of ‘biscuit’ (porous terra-cotta). Depending on the texture of the surface, each biscuit makes different sound : insect and animal voices in a forest, motors, crying babies changing pitches and rhythms while absorbing the water… Clepsydra (meaning water clock) features Sauvage’s classical technique, a random percussion with dripping water. She tunes the waterbowls by adding and removing water, making flowing glissando, to find the balance point in ever-changing tonalities.

Just as the flow of water is subject to a number of variables such as temperature and pressure, water clocks mark a time that is shifting and relative. However, slowness dominates throughout the album as a result of favoring the full resonance of the instrument, leading to a path to experiencing timelessness.

Hydromancy is a method of divination by means of water. Unpredictable bubbles and water ripples become oracles. Evaporation and acoustic space constantly play a chance operation. Through primordial materials and ritualistic yet playful gestures, Musique Hydromantique questions contemporary divination.

All the tracks are live-recorded without electronic effects or editing. They were recorded during the night or very early in the morning and the whole album is to be listened to during that period of a day.

chimescapes (5 of ???)











chimescapes (4 of ???)









chimescapes (3 of ???)





chimescapes (2 of ???)