mouth music (kitschadelicccapella)

mouth music / chest music

a twist on the human beatbox

musique de bouche (voix virtuelles)

Pierre-Andre Arcand 1986 from Productions Rhizome on Vimeo.

esto era mañana / electronica femenina (Hilda Racket)

μουσική στο στόμα / μουσική με ράμφος

at least i think it's avian in origin

opera electronica

[via Robin Carmody]

guy behind it was the guy behind



went from copying Roxy to jostling alongside the synthy children of Roxy like Visage

a tenacious fellow, adjusting to the times and coming again Nineties style with the "poetic-techno" of Noir



(is this trying to be Underworld or something?)

i'm drawn back compulsively to the atrocity that was

double your pleasure

cor, what a great tune

such crisp drumming, so much intricate space, that glistening luminous bassline, all the gorgeous little flickering riffs and FX,

sort of a funkatified Spirit maybe, or a proto-disco Zombies

but you know what is even better

take two copies of the same video





play one, and then cue the other to start with a delay

could be 10 seconds gap, or 40 seconds, or even a minute and half

it almost always sounds great

it's that old swirling or phasing trick that deejays would do, two copies of the same record on each deck

i've tried it before but i've never had the same degree of "it all sounds good" no matter what the delay factor is - usually you had to jiggle about a bit, pause the PLAY and restart after a second, do that a few times to get a pleasing effect, nudging it towards a nice phasing

but perhaps because of all the spaces in "Green Eyed Lady"  -  the definition in the way the drums have been recorded - the mirrored out of synch versions of the song seem to mesh easily more often

musique de bouche (étouffement crever)

"On December 7, 1952 Serge Berna, Jean-Louis Brau, Guy-Ernest Debord and Gil J. Wolman declared in Aubervilliers the birth of the Lettriste International. This movement prefigured the Situationist International, which was born five years later. By diverting images found in the Aubervilliers municipal archives Alberto Calabria presents the birth of this movement and a deepening around the theories of Drift and Psychogeoraphy"

mond muziek (good schat)

musik tutuk

mouth music (sopranosculpting)

"a weird/spiritual synthesis of acapellas by gospel soprano Irene Oliver, whose notes are then modified by Joel Chadabe with weird dubby effects & synth" says Wouter de Romph

no mouth music element here but worth some ear time

これは明日だった

ooh gosh



listen to them all, you won't regret it







you make me feel mighty creel

suu muusika

munn musikk

via this Quietus interview with Maja Ratkje 

suu muusika

via Richard Foster's Quietus feature on the New Weird Estonia - although this is actually a slice of Old Weird Estonia



some kind of tribute?

musique de bouche (oh! pousseur - pousseur real good)

beak music

Vanessa Paradis

"There is a quality about Vanessa that makes me feel as if she resides in a netherworld of mystery that eludes the rest of us mortals. Her voice seems to come from some deep place that knows all suffering and all secrets. Watching her work is like seeing through layers of glass, each layer painted in mythic watercolor images, layer after layer, until it becomes dark, but even then you know you haven't come to the bottom of it ... The only other time I had experienced this with an actor was with Marlon Brando ... Like Vanessa, he always seemed to be in another reality, working off some secret, magnetic, inner rhythm" - Ms Fonda

Mund Musik (böhmler und hiller)

https://www.discogs.com/fr/Claus-B%C3%B6hmler-Materialien-Zur-Postmoderne-In-Bild-Und-Ton/release/690663

mouth music (southern style)

Mouth Music from Thomas Patteson on Vimeo.

mouth music (textscape)

mond muziek (eigenzinnige onzin)

gura muzicala (scapa de groaza a lui Ligetidelic)

mouth music (tremens digitalis)

suuhun musiikkia / electronica naisellinen

száj zene / ez holnap volt

Mund Musik (österreichischer Hanswurst kapern mit seiner Stimme)

gura muzică (radiofonic românesc)

chimescape - the return's return

chimescape - the return

cos personally I'm more of a Saverot's man

cos personally i'm more of a Savouret's man

creel to be?

Vorhaus is a feeling

https://www.facebook.com/BBCArchive/videos/1976-tomorrows-world-kaleidophon/330119940694376/

Omaggio a Marino Zuccheri

OmniCircus

Frank Garvey's OmniCircus from Vincent Tremblay on Vimeo.








"Frank Garvey is a radical all-around artist who dipped his fingers in painting, sculpting, songwriting, and theater. He is best known as the creator and director of the OmniCircus in San Francisco, the world's first robotic theater ensemble. Marxist philosophy, surreal dreamlike imagery, and a sweet-and-sour taste for the unfit (junk metal, the physically impaired, the socially marginal) have been fueling his creations since the 1980s. Garvey writes musical dramas that call for robotic and human actors, dancers, and singers. He leads the ensemble DeusMachina, also attached to the OmniCircus. 

"Garvey didn't study music. He grew up in Urbana, IL. His mother was a classical pianist, his father John Garvey a close collaborator of Harry Partch (he directed the premiere of The Bewitched). Partch's music (and his love of homemade instruments) had a strong influence on Garvey who later said he would do for metal what Partch did for wood. His formal training is in video (at the Art Institute of Chicago), computer animation, and applied sciences. Relocating to San Francisco in the '80s he slowly developed his artistic ideas and ideals. After a painting phase, he began to build lo-fi robots and founded the OmniCircus in 1988, staging small-scale shows at first. He managed to build a small following and an exaggerated reputation as a mad scientist (he liked to take his creations for a walk). In 1995, he met engineers Aaron Edsinger, Jeff Weber, and Carl Pisaturo. They helped build what is known as the OmniCircus Robotic Red Light District, a collection of perverted, twisted robots, surreal personifications of Mankind's deepest sins and fears. Some media attention of a controversial nature brought his work to a wider audience. The production House of the Deafman, backed by a cocktail of post-industrial rock and world music, garnered excellent reviews. In 1999 Garvey moved to Pittsburgh where he founded the Center for Robotic and Synthetic Performance (CRSP) at the Carnegie Mellon University where he now teaches."

they brought you the future (well not really)

would be interesting maybe to play these against Chrome's early releases



same coast, same Hendrix obsession, not dissimilar drugs, lots of squealing lead and molten soloing

mouth music (Nyrodelia)

wow. just wow.

and i'm not even particularly a Laura lover.

Very much in the tradition of  "Omaggio a Jerry Lewis" by Richard Trythall and 

James Tenney "Collage #1 ("Blue Suede")"

back to Arne - some more of his mouth music, this time choral

mouth music (berberian sound studio)

mouth music (mal de fleurs)

Ruth White:

"To me, Baudelaire's poems are of such unique power that they always seem to rise above the level of the personal and sometimes existential nature of their content. In this composition, I have attempted to parallel the transcendental qualities of the poetry through electronic means.

For the words, I used my own voice as the generator of the original sound to be altered or "dehumanized." This seemed practical since my experiments with the medium were too time consuming to have been easily accomplished with a collaborator.

To modulate my voice, I used a variety of techniques. Changes of timbre were achieved with filters. Tape speed changes were used to control pitch. Into the shape of some words, I injected sound waves and white noise, thus changing the quality of their sound but not the flow of their delivery. By adding reyerberation, I varied atmospheres and decreased or increased space illusions. To accent special words or phrases, I used controlled tape delays. Choruses were created by combining slight delays with multiple track recordings.

The musical settings around the voice were made with music concrète materials, a moog synthesizer, other electronic generators and conventional instruments, which were usually altered electronically.
In the translations, there was no attempt to rhyme the verse as in the original french poems. I tried only to keep the language as direct and simple as possible, for I always found that the dominating power of Baudelaire's ideas were in themselves of electrifying force."