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)

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

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 here -  buy it here

Irv Teibel's story at Atlas Obscura

malcolm and alan

Lowry and Clavier