daas sii moorn / quel esser damaun / c'était demain / questo era domani (Swisstronica)

Experimental and Electronic Music from Switzerland 1981-93

Décalé. and Bongo Joe Records present an all new compilation placing the spotlight on the Swiss experimental and electronic scene of the ‘80s and the early ‘90s. The compilation Intenta assembles under-appreciated gems, sought-after titles and newly mixed versions. It places leftfield synth-pop next to otherworldly jazz, and joins the dots between lyrical post-punk excursions and proto-house experimentation.

The compilation covers a period of transition: When songs mutated into sounds. When synthesizers and samplers became the règle du jeu in DIY music-making. When a politicized youth movement slowly gave way to the hedonistic embrace of techno culture in Switzerland. Intenta mines the outer fringes of a scene yet to be. Many of these experimenters were pretty much on their own. Often the only way you would get in touch was at the local synth dealer.

A spirit of bold improvisation inhabited studios between Geneva and St. Gallen: these artists were articulating pop sensibilities (Air Project, Sky Bird, D-Sire, Peter Philippe Weiss), entering computer worlds (Claudine Chirac, Olivier Rogg, Carlos Perón), exploring exotic shores (Andreas Hofer, Bells of Kyoto, Fizzè), building future discothèques (Aborted at Line 6, Carol Rich, UnknownmiX) or finding glacial bliss (Dressed Up Animals, Elephant Château, I Suonatori).

The compilation was put together by Matthias Orsett and Maxi Fischer. Intenta unfolds as a sonic story that is laid-back yet energetic, sultry yet daring. The two crate diggers set out to meet with many of the artists arrayed here. Memories were shared, wine bottles opened. There were moments of sadness: Karl Lienert Löwenherz (Dressed Up Animals) and Claudius Scholer (Sky Bird) passed away during the making of this project. What remains of this journey into the backrooms of Swiss popular culture, is Intenta. If you listen closely, it will reveal a nation on the move. Beyond the Matterhorn, there is sweetness and light. 

credits

released February 28, 2020

the old joanna (slight re-re-return)

"a fortress made of sugar ice"

"I hold by a theory I concocted about Cocteau Twins. That whereas the likes of The Cure, Siouxsie, PiL, Joy Division used the big bass and massive, spraying guitars as a means of disseminating angst, pain, disdain, scalding, purgative scorn, with The Cocteaus it was different. They used the same instrumentation to create a sense of blinding ecstasy, an incredibly powerful palliative. In interviews they would talk but not in an explanatory or introspective way. It was as if their music was a massive distraction, a brilliant confection, a fortress made of sugar ice to compensate for the private pain in their lives; and that their audience tacitly accepted their music as such. All that frou-frou, patchouli, glowbo, peppermint, it wasn't whimsy but grist to the cause. What they retained, however, always was a voluble, searing intensity, as if to imply that somewhere, anguish was being actively repressed, not wallowed in" - David Stubbs, recently

the wide ranging career of Robin Askwith

1 hour 29-ish minutes in for Robin

the full Windowcleaner



bonus treat from Pasolini's I Racconti di Canterbury




more Confessions








knobbin Robin

Mtume journey

electronic dance music (slight return)

(via Bruce Levenstein)


release rationale:

Music From Memory are happy to finally announce MFM045 - VA ‘Music For Theatre And Dance’ (EP).

This will be the first in a small series of EPs which will focus on music which was initially created for or inspired by dance and performance. Created as a dialogue with the avant-garde and highly experimental work in dance, theatre and art evolving at the time, the music was in turn at times greatly innovative.

That it was created for a dance or performance though means that such music was also often highly rhythmic and a number of pieces from this time stand out and seem greatly deserving of a new context.

Whether it’s more ambient or atmospheric works or whether it’s in the more rhythmic or percussive pieces, Music From Memory brings together a selection of tracks which aim to highlight this highly innovative direction in music.

credits

released March 23, 2020

mond muziek ( voor luidsprekers, vrouwen en luisteraars)

the beyond within (inner spatial trumpet #1 of ??)

mouth music (Tellus a story)

mouth music (babes)

release rationale


Recorded between Spring 1989 and Summer 1990. All the vocal parts on this recording are performed by singers under the age of 18 months. They are:
Faye Kilsby
Lucy Round
Tom Heale

See also www.earthlydelights.co.uk

It looked so innocent at first. Picture of a shrine to a saintly infant on the cover, titled to suggest holiness and docility, it sat in the CD review drawer like an orphan on a doorstep. It needed attention, understanding, a sensitive ear. So I adopted it.

Little did I know I’d just brought Damien into my apartment.

Titles like Eeeeurr, Lleeehh, and Gooraruh should’ve been omens – hellspawn probably would make those noises – but instead I got lulled by the inlay booklet. It lured me with bits of info on babies’ spontaneous singing and vocal capabilities, fired my curiosity when it said the assembled instrumentals were "based on the song babbles and sound effect made by infants, to create a new form of music".

Then it scared the living hell out of me. This, friends is not Lullabyes from the Womb.

It’s an industrial soundscape, where tape loops, found noises and mechanical dronings run free, unfettered by normal song structures or any human voice older than 1. Looped into rhythm tracks, or distorted into the lowing of Satan’s cattle, these infants sounds move Mouth of Babes way beyond ambient into…what?

Eerie, unsettling – arcane, even – and too far into the mystic for "normal" listening. Its incantations are uniform, repetitive and totally impenetrable for anyone out for nifty "alternative" "music". It demands effort, attention and imagination, and it’ll frustrate anyone who tries otherwise: dancing or having sex to it won’t cut it (I know. I’ve run control tests) (With or without restraining device – Inquisitive ed.) and merely listening through all 70 minutes borders on ritualistic.

And maybe ritual is what this album is about: the booklet closes off with an "Occultistic Note" of suggestions on designing magickal systems and warnings against "parasites and vampies of Control". And maybe there does have to be some mystical communion before Mouth of Babes will speak its secrets.

And maybe – just maybe – I’d be willing to shed the spiritual sweat to get to it.

Chris O’Connor
Eye magazine 


https://thequietus.com/articles/18434-nigel-ayers-interview

afrojazz

sort of the missing link between Ginger Baker Air Force and Malcolm McL's Duck Rock

and shows that xenomania is not a new thing at all

story:

"In 1970 Barney Wilen assembled a team of filmmakers, technicians, and musicians to travel to Africa for the purpose of recording the music of the native pygmy tribes. Upon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avant jazz sensibilities with African rhythms, ambient sound effects, and melodies rooted in American blues traditions. Cut with French and African players including guitarist Pierre Chaze, pianist Michel Graillier, and percussionist Didier Leon, this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, street-legal funk. Wilen pays little heed to conventional structure, assembling tracks like "Afrika Freak Out" and "Zombizar" from spare parts of indeterminate origins."

tipz from da kidz

i've reached that nice point where my children are turning me onto cool stuff

(life)style mag eye candy