mouth music (mars music)

a bit Ligeti-y

 

hogsadelica

from the same album as this -

which is my favorite Groundhogs tune

on "You Had a Lesson" there's an angularity that from the very first time I heard it seemed like a bizarre advance whiff of Wire-iness

(then i discovered years later that Groundhogs were one of the few bands pre-punk that the members of Wire all liked)

thinking about it, I might rate Hogwash higher than the preceding better known and better celebrated albums, great as they are

the blues riffage is starker and progger than ever, and there's little moments of electronics and Mellotronics, no doubt a sideways seepage from this Tony McPhee side project

in terms of the earlier commonly-regarded-as peak Groundhogs albums (Bomb / Split / World) - this is one of the most exciting rock songs of the '70s




they must have smoked a few stages in their time

hadn't realised they were quite a commercially successful band, with those three commonly-regarded-peak albums cracking the Top 10

then Hogwash is a bust, doesn't chart at all

and they lick their wounds and come back with Solid, a slight return to commercial form

I've not listened - the title doesn't sound very promising

suggests they scale back their progward tendencies, chastened by Hogwash

moth music (astral peaks)

 

whole album is full of lovely mouthmusik and much else besides

https://dyani.bandcamp.com/album/under

mouth music (o curd to me)

 

a little wet (2 of ??)

 

a little wet (1 of ??)

 

radio atmospherics

 

dir. nic roeg would you believe

viva las dusseldorf

 

musique de bouche (rengaine)

 

mouth music / invented instruments

 

(via andrew parker)

Mundmusik (con man)

 

mouth music (facescape)

 

we will have salad

 

invented instruments / mouth music

(via Slow Goes the Goose)

musique concrete at the movies (2 of ??)

I was struggling to remember this one and then Andrew Parker comes through... 

the electronics in the movie came from Rupert Hine, whose long winding career in the biz I find fascinating (quirkfusion novelty hit "The Lone Ranger" with Quantum Jump; a motley panoply of productions; fake pop group Thinkman with all the music by him solo but actors hired to play the band for publicity shots and videos, including then-emerging comedian Julian Clary aka the Joan Collins Fan Club)

musique concrete at the movies (1 of ??)

 

(via Tony Drayton)

a vehicle for Brit rock'n'roller Adam Faith, with some satire of bohemians and modern art going on, abstract painting and abstract musicking (as in the scene near the end of this clip) 

other suggestions of cinema concrete welcomed!

the electronic sounds in the movie were supplied by Desmond Leslie, whose Music of the Future was reissued by Trunk some years ago 

Could also have titled this post 'musique concrete at the theatre', because Leslie provided noise bits for these recordings of the Bard's great plays in the Living Shakespeare series

i am nutty enough to have bought a couple, although I'm not sure I ever listened to either all the way through 

mouth music (afxolalia)

 

at least i think it's a mouth

punky Legs

 

love the fake 'mean' expressions

better than the song, in many ways

as game efforts by resident TOP dance troupe to enact the spirit of the music, it is only rivaled by this

exasperated frog at the poltergeist party

(via Dave Segal)

from a library record he made several years prior to Oxygene etc

great titles!

silver machines

instead of Stacia, these versions would be accompanied by burlesque ladies with nipple tassels a-twirling

Hawkwind have a new book about them just out by Joe Banks -  looks excellent

Here's a piece by Joe at the Quietus where he runs through 10 key tracks that supply ten reasons why Hawkwind matter

Here's an interview with the author at Echoes and Dust

mouth music (pearly whiteout)

classical kitsch

The elder brother of one my friends had this album, its contents are all too familiar to me



It was pretty ubiquitous for a moment there in the British late '70s, now completely forgotten (even more so than Sky)




"The music was composed by Andrew Lloyd Webber and performed by his younger brother, the cellist Julian Lloyd Webber.  The Lloyd Webber brothers were always very close but their two different careers (a rock musical composer and a classical cellist) meant that a collaboration seemed unlikely. It was not until Julian beat his brother in a bet on a Leyton Orient football match that Andrew was forced to write his cello work. As his subject, Andrew chose the theme of Paganini's 24th caprice and added 23 variations for cello and rock band. The work premiered at the 1977 Sydmonton Festival with rock band Colosseum II, featuring Gary Moore, Jon Hiseman and Don Airey being joined by Barbara Thompson (sax, flute), Rod Argent (piano, synthesizer, keyboards) and Julian Lloyd Webber (cello). It was subsequently rearranged and recorded in 1978. It reached Number 2 on the UK album charts" - Wiki

The theme ended up as the perennial intro to the South Bank Show, its perfect home really

because when SBS deal with rock, it had an unerring instinct for finding the upper-middlebrow - Talking Heads, Peter Gabriel, that sort of artist (did they do Kate Bush? Must have done, eventually).





one exception would be the episode they did on Rough Trade at the peakprime of postpunk



but generally yeah

rock that exhibited intelligence, craft, seriousness... a colour supplement idea of artistry

not knocking it particularly

much of my favorite stuff ends up upper-middlebrow, by acclamation and audience if not intent

Variations though i would categorise as lower-middlebrow - a vulgar attempt to 1/ "elevate" rock 2/ loosen up classical, jettison the bow-tie, help it "get down" a bit

transparent pretensions, laughably falling short of everything either kind of music validly offers

for all that, enjoyable!

mouth music

"Here we have another sound-poetry compilation that was assembled by the Italian sound-poet and artist Enzo Minarelli. He created a series of these compilations that were each dedicated to the exchange of sound-poetry between Italy and other countries and their languages. Spagna - Messico - Italia was the second record in this series and focused on neo-latin roots in modern sounds combining elements and intersections of the Italian and Spanish language through sound-poetry and music.

Although the compilation was published in 1988, the pieces come from different periods. The oldest piece, composed by Mexican poet and actor Guillermo Villegas, is from 1974 while other pieces are from around 1988. It's remarkable that some pieces have a more theatrical aspect and that others have a more musical approach resembling home-taping sounds from the 80's. An artist like Luca Miti on this compilation can be seen as a bridge between those worlds as he also made cassettes.

One of the highlights on this compilation is a piece by Mexican artist Laura Elenes who composed a computerized poem that translates itself into repetitive Casio patterns based on color schemes. Not only can it be seen as an example of sound-poetry, but also as an important piece of Mexican electronic music. The last piece on this compilation is done by Minarelli himself where he creates an intense poem based on different patterns with the words of the four seasons (spring, summer, autumn, winter) and other associative words.

"The method of sound poetry, apart from the single, specific characters, can associate acts of research, I dare say international, towards the exploitation of voice and oral word, which are the true protagonists in the poetical progress at the end of this century. The geographical distances are put at zero, as each author, feeling the weariness and strain of the written poetry, composes his own phonic style by similar co-ordinates (orality, musical involvement, signifying rumour, electronics), with different outputs due to different levels of probing and sensitiveness, but belonging to the same effort of getting over the written page for a pure sonority." - Enzo Minarelli, 4th of April 1988, Cento, Italy

via Archaic Inventions
http://archaicinventions.blogspot.com/2020/06/various-artists-spagna-messico-italia.html

green and groovy

the Sugarloaf got to #3 in Billboard would you believe...  Baker boys just outside the top 20

the visitors

his are the robots

no recollection of this kids TV show at all

the credits are a laugh

mouth music (darkapella)

another take on the same idea

Lol Queen · Beltram Energy Flash Acapella Version by The Total Fire Band

the Origin Unknown perpetrator Shivaxi,  doing it to other d&b tunes but unfortunately after it got a bit shit























not drum and bass, so much as tenor and bass

Zang Tumb Tumb eye candy

 

                                          

                                                

                                                          

                                                        

                                                                 

  

 
                                         

and a little jibe at Morley from Tony Wilson