"Really awful is more interesting to listen to than pretty good" - Eno ................................................................................................................................................................................................................. welcome to the drivel blog of "music detractor, Simon Reynolds"
Thursday, January 31, 2019
Wednesday, January 30, 2019
Mundmusik (Wassermusik)
aquatastic! gurglicious!
Labels:
CREEL PONE,
Josef Anton Riedl,
MOUTH MUSIC,
MUSIQUE CONCRETE
Tuesday, January 29, 2019
muzyka ustna
and this album, i actually have on 'nyl
Labels:
jazz,
MOUTH MUSIC,
poland,
SCAT,
URSZULA DUDZIAK
Knud-ism
release rationale
"The lost masterpiece Les Éphémères by the self labeled ‘sound painter’ Knud Viktor (1924-2013) now sees its first ever release by Institute for Danish Sound Archaeology – 40 years after it was conceived. Viktor’s pioneering work – his Images Sonores – are composed of field recordings of insects, animals and the his surroundings.
A finished master tape and even a complete cover layout for Les Éphémères was found in Viktor’s archives after he passed away in 2013. The phenomenal piece was originally commissioned by the French radio station France Musique in 1977. The twenty short ‘sound images’ of Les Éphémères were originally broadcast as vignettes in-between other radio programs.
From the middle of the 1970’s Viktor began composing almost exclusively for four channels. He invented his own intuitive quadraphonic mixer – the Tetramix – to realise his spatial visions for his Image VI – The Lubéron Symphony, and from then on worked with quadraphonic sound, thus making the release of his works difficult. Les Éphémères is close in time and also holds close ties to The Lubéron Symphony, which Viktor considered his magnum opus. Perhaps most strikingly is the shift in the way he uses the recordings of insects, birds and animals in both The Lubéron Symphony and Les Éphémères: Often untreated and clearly recognizable, the field recordings leave the inherent melody and rhythm of the animal sounds to sing for themselves, layering recordings to create simple and elegant sound images. In two of the twenty pieces Viktor’s own voice blends with the animals, as he recites two poems. One about the singing vineyard populated by musical crickets, the other painting an autumn picture with wine bubbling in the barrels as we hear the wine flies humming.
Viktor’s work emanates with a tremendous love and fascination with his companion species and the landscape and geology that surrounded him. His works are devoted to depicting the life on the mountain where he lived for fifty years. Hearing how the ecology of the landscape changed as commercial farming and pesticides took effect, a larger perspective in his work became clear to him:
"As it turns out, my work has actually set many things in motion; it touches upon something universal that I feel I have a duty to convey to others. A duty that I feel as a citizen of the earth. Not as a human citizen, but as a citizen of the earth. It may sound pretentious, but this is a question of generations to come." – Knud Viktor
The world has seen dramatic ecological change since Viktor recorded his sounds. Not only have the individual insects and animals that he recorded vanished from Lubéron, so too have entire species. Like fossils, their imprints now exist only in his works, in the recordings stored on tape. In the midst of our planet’s sixth mass-extinction event, the growing silence that Viktor heard in his immediate surrounding is now global: scientists estimate that half of the planet’s animal life has already disappeared. Viktor’s sound works allow us to borrow his ears. They convey his love for the animal worlds that surrounded him and perhaps we too can see our companion species differently through his works.
A finished master tape and even a complete cover layout for Les Éphémères was found in Viktor’s archives after he passed away in 2013. The phenomenal piece was originally commissioned by the French radio station France Musique in 1977. The twenty short ‘sound images’ of Les Éphémères were originally broadcast as vignettes in-between other radio programs.
From the middle of the 1970’s Viktor began composing almost exclusively for four channels. He invented his own intuitive quadraphonic mixer – the Tetramix – to realise his spatial visions for his Image VI – The Lubéron Symphony, and from then on worked with quadraphonic sound, thus making the release of his works difficult. Les Éphémères is close in time and also holds close ties to The Lubéron Symphony, which Viktor considered his magnum opus. Perhaps most strikingly is the shift in the way he uses the recordings of insects, birds and animals in both The Lubéron Symphony and Les Éphémères: Often untreated and clearly recognizable, the field recordings leave the inherent melody and rhythm of the animal sounds to sing for themselves, layering recordings to create simple and elegant sound images. In two of the twenty pieces Viktor’s own voice blends with the animals, as he recites two poems. One about the singing vineyard populated by musical crickets, the other painting an autumn picture with wine bubbling in the barrels as we hear the wine flies humming.
Viktor’s work emanates with a tremendous love and fascination with his companion species and the landscape and geology that surrounded him. His works are devoted to depicting the life on the mountain where he lived for fifty years. Hearing how the ecology of the landscape changed as commercial farming and pesticides took effect, a larger perspective in his work became clear to him:
"As it turns out, my work has actually set many things in motion; it touches upon something universal that I feel I have a duty to convey to others. A duty that I feel as a citizen of the earth. Not as a human citizen, but as a citizen of the earth. It may sound pretentious, but this is a question of generations to come." – Knud Viktor
The world has seen dramatic ecological change since Viktor recorded his sounds. Not only have the individual insects and animals that he recorded vanished from Lubéron, so too have entire species. Like fossils, their imprints now exist only in his works, in the recordings stored on tape. In the midst of our planet’s sixth mass-extinction event, the growing silence that Viktor heard in his immediate surrounding is now global: scientists estimate that half of the planet’s animal life has already disappeared. Viktor’s sound works allow us to borrow his ears. They convey his love for the animal worlds that surrounded him and perhaps we too can see our companion species differently through his works.
credits
releases January 17, 2019 "
YouTube poster says: "This recording (real name of the recording unknown if any) has been made by Knud Viktor and given to accompany the pregnancy of my mother. The sounds were used to discover my reaction to them in her belly.
Monday, January 28, 2019
When Pop Goes Meta #1
B-side of "When love breaks down"
attacking an obscure to 97% of his listeners country singer - never quite figured out the point.
another one whose point I never quite saw - Paddy here is attacking Springsteen for his supposedly constricted range of songwriting topics (erm, hello - Nebraska? Born in the USA?) - "some things hurt much more than cars and girls".... well, you have written your fair share of songs about girls Paddy man, haven't you? ... Also - what does actually hurt more than "girls" (meaning, love, heartbreak, unrequited etc?) or is a better subject for pop? There's death, but yeah the travails of the heart seem like pretty high up there on the list.
About Abba and the appeal of Agnetha
There's several other songs on Jordan that are about music, pop, specific artists (Elvis, if I recall right), including one where Paddy says - on the subject of music for dancing - "I'd rather be the Fred Astaire of words". Which is quite witty admittedly.
Wasn't there a whole unreleased, or written but un-rerecorded concept album about Michael Jackson?
Labels:
META POP,
METAMUSIC,
new pop,
PADDY MACALOON,
POSTPOSTPUNK,
PREFAB SPROUT,
REFERENTIALITY
Sunday, January 27, 2019
really poor videos #1
specifically meaning here, that they let down the great song - fail to do it justice
nominations please!
this doesn't even properly exploit the prettiness of Pete Perrett!
bad angles, shit lighting, minimal commitment from the band themselves in terms of stage moves or "giving it some"
could hardly be more desultory or uninspired - basic soundstage set up
the stale air of the Marquee/Rainbow type mid-level concert hall wafts off it
nominations please!
this doesn't even properly exploit the prettiness of Pete Perrett!
bad angles, shit lighting, minimal commitment from the band themselves in terms of stage moves or "giving it some"
could hardly be more desultory or uninspired - basic soundstage set up
the stale air of the Marquee/Rainbow type mid-level concert hall wafts off it
Saturday, January 26, 2019
口の音楽(神秘的な呼気)
via https://www.fondsound.com/toshi-tsuchitori-breath-1980/
Labels:
JAPAN,
MOUTH MUSIC,
NEW AGE,
toshi tsuchitori
Friday, January 25, 2019
Thursday, January 24, 2019
oddments #17
manuel gottsching has some kind of hand in this NDW oddment
Wednesday, January 23, 2019
oddments #12
Labels:
cassiber,
late prog,
oddments,
POSTPUNK,
PRONK,
QUIRK,
Recommended Records,
RIO,
Rock in opposition
Tuesday, January 22, 2019
Monday, January 21, 2019
Sunday, January 20, 2019
Saturday, January 19, 2019
Friday, January 18, 2019
quirk #21
bonus Daxquirk
jesus egg that wept = my first ever freebie (thanx Pat Naylor!)
then she tried to go pop
Labels:
DANIELLE DAX,
DIY,
grotesquerie,
lemon kittens,
POSTPUNK,
QUIRK
quirk #19
side project of Los Microwaves
Thursday, January 17, 2019
Wednesday, January 16, 2019
Tuesday, January 15, 2019
Monday, January 14, 2019
Sunday, January 13, 2019
Friday, January 11, 2019
Thursday, January 10, 2019
Wednesday, January 9, 2019
Tuesday, January 8, 2019
Saturday, January 5, 2019
Friday, January 4, 2019
Thursday, January 3, 2019
Wednesday, January 2, 2019
Subscribe to:
Posts (Atom)