Sound Structure/Sculpture: Felix's Machine

Felix’s Machines are music making sculptures. They were constructed in his bedroom and exist to facilitate music by translating rhythmic audio structures into a three-dimensional visual show.

They function as musical instruments as well as kinetic sculptures. The Machines are a performance device, but can be well suited to act as an art installation, theatre accompaniment, or standalone sculpture.

The Machines invite an audience to share the experience of their creator. He aims to exploit the complexity found behind the workings of most digital music and present it as a more accessible equivalent. These Machines do not intend to match human potential. Instead they exist to test the advantages of mechanical instruments alone.

Winter 2007: early stage of development

Winter 2008: Extract from composition: 'Glide' recorded and filmed at Gasworks

Machines: Felix Thorn
DOP: Tom Swindell
Editor: Chris Barnet
Director: Tom Mansfield

 www.felixsmachines.com

Emergency Broadcast Network: EBN VHS copies is back!

Emergency Broadcast Network is the name of a multimedia performance group formed in 1991 that took its name from the Emergency Broadcast System. The founders were Rhode island school of Design graduates Joshua Pearson, Gardner Post and Brian Kane (author of the Vujak VJ software).

Kane left EBN in 1992. The EBN Live Team included DJ Ron O'Donnell, video artist/technologist Greg Deocampo (founder of Company of Science and Art (Cosa)), artist/designer Tracy Brown and technologist Mark Marinello.

Josh Pearson, EBN's charismatic front man and principal performance artist, was also EBN's music composer and main video editor. The music and video editing techniques he personally developed and refined have been hugely influential on a generation of advertising and music video editors.

The first EBN video project was a musical remix of the Gulf War, created in 1991 as the war was still ongoing. The VHS tape of the remix project, which contained the George H.W. Bush "We Will Rock You" cover, became a viral underground hit, and was distributed widely by fans as bootleg copies. In the summer of 1991, EBN traveled with the first Lollapalooza tour, distributing tapes and showing their videos on a modified station wagon with TVs on the roof. The group also became well known for their media sculptures and stage props which were created by Gardner Post.

The EBN modus operandi was to take cable television broadcasts and remix them with a funky beat, often having the lyrics "sung" not by a singer but by half-second sound clips from TV, spliced together. For example, the lyric "electronic behavior control system" would be created with a clip of Ross Perot saying "electronic", followed by a clip of Georges H. W. Bush saying "behavior", then Ted Koppel saying "control", and finally a clip of Bill Clinton saying "system". This technique has been named Video scratching (Not to be confused with the British video art movement).

Among their videos are "Get Down" and "Electronic Behavior Control System" from their 1995 album Telecommunication Breakdown, which mocks the way television controls our lives. Another was a cover of "We Will Rock You " by Queen, with a vocal track made up of remixed clips of Georges W. Bush making announcements about the Gulf War. Bono of U2 took notice of their work and hired them to provide visuals for their Zoo Tv Tour. EBN's video work featured prominently into the show, and their "We Will Rock You" cover was played at the beginning of each show. EBN also produced visuals for The Edge's performance of "Numb" on the 1993 MTV Video Music Awards. In addition to the visuals, audio from those clips were featured in the live performance to create rhythmic effects.

Here is one of the clearest versions I have ever found. I have seen an original VHS tape in the early 90s, and to my memory this seems like it, however short it was. Is also very hard to find any EBN video material since most of it was contained on VHS and those tapes never last after many years of use. So if you own an original VHS of Any EBN work, please rip it and upload for the community, thanks a lot!
Take it here, here and here

more @ www.joshualpearson.com

Bästard - radiant, discharged, crossed off

 

Following in the hyper-underground-shamefully-too-unknown-noise-bands-from-the-last-decade, Born from the ashes of Lyon's hardcore band Deity Guns, Bästard is now considered as a very important band in the nowadays music's landscape. During the early 90's, those pioneers have reached to an uncommon sound inspired by Sonic Youth and others Einsturzende Neubauten. From their beginning, they kept in their music that kind of fury, but used it 'til the end masterfully and always with some more inventiveness. Once became Bästard, they progressively abandon their noisy way of playing, to better include new sounds : samples and violin appear on the eponym album "Bästard" and this was only a beginning. Always looking after exciting sounds, they came to collaborate with jazz-clarinettist Denis Colin or experimental musician Erik Minkinnen (also famous for his Sister Iodine project). Many songs will be released on Ep's and all those will be compiled on "Side Stuff" Lp. It's in 1996 that the band peaked. "Radiant, Discharged, crossed off…" is still saluted by the whole press critics, as an essential post-rock work. Recorded by Andy Briant (member of Tortoise), this LP remains a classical advanced on his time, that pushed back the frontiers of music. Including the open minded attitude of jazz and industrial soundscapes, the result is still astounding.

I listen to this album again and again and again..

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Sound Design: Berna

Between the 1950s and the mid 1960s, long before Robert Moog and Wendy Carlos injected electronics into pop-music (with a few exceptions like the Barrons and Raymond Scott), electroacoustic music was pioneered by european radio laboratories and US universities. Composing with tapes and electronics was a serious painstaking and expensive affair, prerogative of a restricted elite of contemporary music composers and adventurous sound engineers. At that time there wasn’t any electronic musical instruments market, as a matter of fact, most of the equipment was adapted from scientific tools belonging to radio engineering departments. Sometimes the equipment was built from scratch cannibalizing anything that had wires, tubes and pots, more rarely, the studios used the few commercial instruments available in those days, such as the Melchord, the Trautonium and the Theremin. Contrarily to what happens today, electronic music then was everything but fast and easy to create. A few minutes of electronic composition could take more than one year of work. Everything was handmade, from complex timbres with multiple sine oscillators bounces to tape editing with scissors and scotch-tape. Even sound envelopes were manually built by cutting tapes’ edgdes at different degrees of inclination. Ussachevsky’s ADSR was yet to be invented!

Berna is a software simulation of a late 1950s electroacoustic music studio. Oscillators, filters, modulators, tape recorders, mixers, are all packed in a easy-to-use interface with historical accuracy.

Explore serial, concrete and tape music or create strange new sonic worlds with instruments inspired by the greatest studios of the early days of electronic music. Are you ready to meet the grandfather of the synthesizer?

from Tobor Experiment

THE EX!

TERRIE EX guitar, baritone guitar / G.W. SOK vocals
ANDY MOOR guitar, baritone guitar / KATHERINA EX drums, vocals

Ok. Today, The EX, for me, probably one of the best band on the planet. I guess the best introduction for you would be to see them live, but the record "Scrabbling at the lock", recorded in 1991 in Amsterdam, with Tom Cora could be the best alternative.

'After their start in 1979 The Ex developed over the years into a melting-pot of divergent musical styles: noise, rock, jazz, improvisation, and ethnic music have been interweaved under one unique umbrella: ‘Ex-music’. Discordant, highly rhythmic guitars, the rolling, almost African drumming style, and the furious delivery of the often sarcastic lyrics give the music of The Ex its special character.

So far, inalmost 28 years, The Ex played 1,270 concerts all over Europe, Northern America and Africa, and made over 20 CD-albums. Never pigeon-holed into one of pop music’s corny corners, The Ex is continuously in development, and always open for new ideas and collaborations with people of all kinds, people who’s spirit inspires and appeals to the group. The main principle remained; to make music with heart and soul, out of reach of commercial trends or expectations. The consequent independent approach of the group and the manner in which they organize their concerts and release and distribute their records themselves, set a significant example for the alternative music circuit.'

"Judging from this album, it was a stroke of genius to match Tom Cora's earthy, aggressive cello with the bludgeoning force of The Ex at full throttle."

"You're thinking of The Ex and 'the right to piss and shit in different colours'. (...) Their music is dense and down-the-line, distantly allusive, subtle, grainy, open, full and proudly, alertly dissident.""Indeed, most of 'Scrabbling' could be an intensely moving soundtrack for our times. 'Scrabbling' has blood, sweat, tears and the sweetest sounding cello money can buy".

Note: all their albums are still available via the Ex's website, at consumer friendly prices.

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Sound Design: DRUM BUDDY

The Drum Buddy was invented by Quintron. It creates music like any other synthesizer but what separates this from the regular one is the fact that the oscillators on this musical synthesizer are light activated and you can play them intuitively by moving a can around which is located in the top of the Drum Buddy creating unique sound. Each of the 4 oscillators is represented by a different color and each has been designed to complete a total rhythm kit. There is a 10 turn potentiometer wired to control the spinning can motor speed.

check here for more details

Sound Design? Radiohead - Nude remake

 How outdated technology can bring nostalgia to a so modern song. 

Cover by James Houston.

Mechanical Music: Pierre Bastien

Pierre Bastien (born Paris, 1953) post-graduated in eighteenth-century French literature at University Paris-Sorbonne. In 1977 he built his first musical machinery. For the next ten years he has been composing for dance companies and playing with Pascal Comelade. In the meantime he was constantly developing his mechanical orchestra. Since 1987 he concentrates on it through solo performances, sound installations, recordings and collaborations with such artists as Pierrick Sorin, Karel Doing, Jean Weinfeld, Robert Wyatt or Issey Miyake.  >>www.pierrebastien.com<<

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Maryanne Amacher (1943-2009): Making the Third Ear

Maryanne Amacher died yesterday. She was a pioneering sound installation artist whose frequently site-specific works explored the sonic effects of psychoacoustic illusions. Best known for her incorporation of otoacoustic emissions sounds that seem to be emanating from inside one's own head.

Two CD recordings issued by Tzadik made her work more widely available to listeners. In 2004, NewMusicBox published an extensive conversation with Amacher about her work and philosophy of the listening experience. We hope to feature a more extensive memorial to her in the coming days.

"When played at the right sound level, which is quite high and exciting, the tones in this music will cause your ears to act as neurophonic instruments that emit sounds that will seem to be issuing directly from your head ... (my audiences) discover they are producing a tonal dimension of the music which interacts melodically, rhythmically, and spatially with the tones in the room. Tones 'dance' in the immediate space of their body, around them like a sonic wrap, cascade inside ears, and out to space in front of their eyes ... Do not be alarmed! Your ears are not behaving strange or being damaged! ... these virtual tones are a natural and very real physical aspect of auditory perception, similar to the fusing of two images resulting in a third three dimensional image in binocular perception ... I want to release this music which is produced by the listener ..."

If you want more, you can watch "day trip maryanne". It's 30 minute collaborative film/video project between Kim gordon, Thurston Moore and Andrew Kesin, filmed in nov 2003, exploring the work of several important women in experimental music. >>www.ecstaticpeace.com<<

Here is an extract showing Amacher & the experimental guitarist Thurston Moore of sonic youth.

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Tim Hecker - An Imaginary Country (2009)

Tim Hecker - An Imaginary Country (2009)
Genre: Ambient | MP3 | VBR | CBR 44,1kHz | 69 Mb

An Imaginary Country continues from the trajectory of his last album, while also showing a few new tricks. Tim has incorporated more pulses into this work & also works with a sound pallete including overdriven mellotron strings & synthesizer. At times this album is less overtly aggressive than previous works, but the notion that this is pastoral work would be dead wrong as there are plenty of the agitated crescendos that he is know for. This music backs off from the void of immensity in favor of a terrain of lushness & warmth. shinybeast

take it here

Dusted Review

The Problem With Music by Steve Albini

Advance:	$ 250,000
Manager's cut:	$ 37,500
Legal fees:	$ 10,000
Recording Budget:	$ 150,000
Producer's advance:	$ 50,000
Studio fee:	$ 52,500
Drum Amp, Mic and Phase "Doctors":	$ 3,000
Recording tape:	$ 8,000
Equipment rental:	$ 5,000
Cartage and Transportation:	$ 5,000
Lodgings while in studio:	$ 10,000
Catering:	$ 3,000
Mastering:	$ 10,000
Tape copies, reference CDs, shipping tapes, misc. expenses:	$ 2,000
Video budget:	$ 30,000
Cameras:	$ 8,000
Crew:	$ 5,000
Processing and transfers:	$ 3,000
Off-line:	$ 2,000
On-line editing:	$ 3,000
Catering:	$ 1,000
Stage and construction:	$ 3,000
Copies, couriers, transportation:	$ 2,000
Director's fee:	$ 3,000
Album Artwork:	$ 5,000
Promotional photo shoot and duplication:	$ 2,000
Band fund:	$ 15,000
New fancy professional drum kit:	$ 5,000
New fancy professional guitars [2]:	$ 3,000
New fancy professional guitar amp rigs [2]:	$ 4,000
New fancy potato-shaped bass guitar:	$ 1,000
New fancy rack of lights bass amp:	$ 1,000
Rehearsal space rental:	$ 500
Big blowout party for their friends:	$ 500
Tour expense [5 weeks]:	$ 50,875
Bus:	$ 25,000
Crew [3]:	$ 7,500
Food and per diems:	$ 7,875
Fuel:	$ 3,000
Consumable supplies:	$ 3,500
Wardrobe:	$ 1,000
Promotion:	$ 3,000
Tour gross income:	$ 50,000
Agent's cut:	$ 7,500
Manager's cut:	$ 7,500
Merchandising advance:	$ 20,000
Manager's cut:	$ 3,000
Lawyer's fee:	$ 1,000
Publishing advance:	$ 20,000
Manager's cut:	$ 3,000
Lawyer's fee:	$ 1,000
Record sales:	250,000 @ $12 = $3,000,000
Gross retail revenue Royalty:	[13% of 90% of retail]: $ 351,000
Less advance:	$ 250,000
Producer's points:	[3% less $50,000 advance]: $ 40,000
Promotional budget:	$ 25,000
Recoupable buyout from previous label:	$ 50,000
Net royalty:	$ -14,000
Record company income:
Record wholesale price:	$6.50 x 250,000 = $1,625,000 gross income
Artist Royalties:	$ 351,000
Deficit from royalties:	$ 14,000
Manufacturing, packaging and distribution:	@ $2.20 per record: $ 550,000
Gross profit:	$ 7l0,000
The Balance Sheet: This is how much each player got paid at the end of the game.
Record company:	$ 710,000
Producer:	$ 90,000
Manager:	$ 51,000
Studio:	$ 52,500
Previous label:	$ 50,000
Agent:	$ 7,500
Lawyer:	$ 12,000
Band member net income each:	$ 4,031.25

read the complete text here

Aphex Twin - Girl-Boy EP [1996]

Artist: Aphex Twin
Album: Girl-Boy EP
Label: Warp Records
Genre: Electronic
Style: Abstract / IDM / Drum n Bass

wikipedia

Funny Mellotron

The Mellotron is an electronic musical instrument invented around 1960 to provide the sounds of violins, cellos, flutes, choirs, horns, pretty much anything, from a keyboard.  Given the technology of the day, the reasonable way to do this was with strips of magnetic tape.  So the Mellotron uses a strip of magnetic tape, a pinch roller, tape head, pressure pad, and a rewind mechanism for each note on the keyboard.

To our modern day technological sensibilities this cumbersome mechanical contraption seems kludgy as can be, especially you're watching the tape rewind operation, but the fact is that no modern technology keyboard can come close to the quality of presence so characteristic of the Mellotron sound.  Why is this?  Because the tape playback mechanism is the musical instrument.  It matters less what is recorded on the tape.

 

source

Sound Design: Amon Tobin and the Music of 'Infamous'

Find out how Amon Tobin and the Sony Music team used found objects to create a dark and grimey video game score. from the Wired.

Street Art: Blu

a collaborative animation by Blu and David Ellis year 2009 blublu.org &  davidellis.org produced by studio cromie studiocromie.org. music by Roberto Lange robertolange.com made at Fame festival 2009 famefestival.it

Here is the new short film by Blu: an ambiguous animation painted on public walls. blublu.org
Made in Buenos Aires and in Baden (fantoche)
music by Andrea Martignoni
assistant: Sibe

Blu in Berlin - November 2008

& One more live painting from daisuke yamamoto, 1week of art works
Japanese Time Lapse painting #2

 

Film composer: Maurice Jarre

One of the most singular of the plentiful cinematographic course of Maurice Jarre. Undoubtedly because the economic constraints stimulate its inspiration, switch towards amazing scaffolding, orchestral strange combinations, where grow his fetishes instruments: banjo, harpsichord, player piano or Martenot waves. There is a 'Jarre' typical sound of this time, broken beats, lame, obsessional waltz, close to faintness. poetry of the strange & delicious topics, exploiting in counterpoint the images of Franju's horror movies.

Most of these rare movies are reedited in DVD by the fantastic Criterion Collection. Please support them! www.criterion.com

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Christian Marclay - Visual Artist & Composer

Christian Marclay is a New York based visual artist and composer whose innovative work explores the juxtaposition between sound recording, photography, video and film. Born in California and raised in Geneva (Switzerland), he studied sculpture at the Massachusetts College of Art in Boston and at Cooper Union in New York. As performer and sound artist Christian Marclay has been experimenting, composing and performing with phonograph records and turntables since 1979 to create his unique "theater of found sound." Marclay has collaborated with musicians such as John Zorn, Elliott Sharp, Fred Frith, Zeena Parkins, Shelley Hirsh, Christian Wolff, Butch Morris, Otomo Yoshihide, Arto Lindsay, and Sonic Youth among many others. A dadaist DJ and filmmaker his installations and video / film collages display provocative musical and visual landscapes and have been included in exhibitions at the Whitney Museum of American Art New York, Venice Biennale, Centre Pompidou Paris, Kunsthaus Zurich, San Francisco Museum of Modern Art.

A few minutes of Christian Marclay's 13-minute music/video installation Video Quartet called ‘replay’, as shot on DV at the Tate Modern in London (unauthorized, thus the crappy sound quality, sorry). I've stayed 3 hours there when i saw it the first time. A great idea and perfectly realized.
It's seen best in Marclay's two rapid anthologies of filmic snippets. The earliest is Telephones from 1995. For almost eight minutes, the phone rings or is dialled with nervous hands. It's a huge cinematic survey of telephonic jitters, rehearsing those gripping moments (again and again) when the remote tones enter someone else's mind with life-changing intelligence. The repetition makes the phone and actors look ridiculous.

Marclay discusses here his interest in unwanted sound, his use of turntables, early examples of his art and more recent pieces too.
The captivity of music in a record isn't the only subject of this strangely liberating vandalism. In fact, Marclay depends upon recorded music for his videos, both as form and subject matter. His works all contain recorded sound; it's his inspiration and goad. If there's a problem with recorded music, it's the mechanical nature of it. The wider target of Marclay's wrecking hands is the mechanistic, the scripted and the predictable.

 

Christian Marclay Body Mix series _199X

Dummy Run Run!

Dummy Run - Pink Rocket (or Dummy run)
Hot Air BSE CD1
Released 1996
Hq VBR

Web: http://www.simplesampling.com

"First album from this combo, a more beat-obsessed take on SH&W (with whom they share member one: Andrew Sharpley) style anti-context and random cultural spatter (Read: Plunderphonics for the freak-beat set). While trying to refrain from using the word 'wacky', I've decided that it's probably the most apt tag one can place hereon. A decidedly different approach from the more dance-floor concerned end of breakbeat sonics. And a sense of humor (the track 'F.D.' chronicles the media-misconceptions of sample-based music through various timestretched host-idiot-comments before breaking into the chorus of the 'A-Team' theme). If any of you are confused on how to turn a 'musical spoons' record into a tearing drum n' bass steppa, look no further." -- Hrvatski.

& just for you, following Album & second, "Ice Cream headache", 1997. The first Dummy run LP I grooved on, and maybe my favorite. Fantastic bunny cover, music & bright white vynil.

Dummy Run - Ice Cream Headache
Hot Air BSE LP 002
Released 1997
Hq VBR

Support innovative artists and labels by buying their product!

bip

UA in Do Re Mi no Terebi !!

As my friend norman bambi said:

"And now the great UA in Do Re Mi no Terebi !! "






This is a tv show from Japan (TV - NHK - japan) intended to the young children to learn & remember some old disappeared japanese traditional songs. Another good way to show music to kids in their early years. To make them love to sing and dance.

Really addictive in the morning. ;)

Michael Nyman: Draughtsman's contract

This beautifully shot, highly intelligent, somewhat surreal and shockingly unknown film was originally made by Peter Greenaway for the opening night of Channel Four Television in Britain, and represents, perhaps, the man at his peak. The story, which avoids any direct explanations of itself or its plot, centres around a draughtsman (Higgins) who is hired to produce twelve drawings of a stately home in England. While he draws, objects appear in the landscape around him, which he includes in his drawings... when a body finally surfaces, do the drawings contain evidence concerning the identities of its murderers, or has some clever person purposely placed the objects in order to frame someone else... possibly the draughtsman himself? One may watch the film many times, each time coming up with a different answer; the motives and dialogue contradict each other just enough to add to the mystery, but not enough to ruin any possible explanation. This sountrack, by Michael Nyman, is also interesting: the themes within it are based on eight-bar samples of Mozart which are repeated and improvised upon, to hypnotising and evocative effect. A fascinating film & music, not really in relation to my other post, but important in my memories.

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Sound design: Ovalprocess

If u dont know, u have to..

Markus Popp: Music as software. Genious.

born 1968, in Darmstadt (D); computer musician. Cofounder of the Laptop Scene founded in the mid-1990s, and mastermind of the so-called Glitch Style. Since the formation Microstoria (with Jan Werner from Mouse on Mars) and Oval (originally with Sebastian Oschatz, today working solo) Pop concentrates on digital, clicking and humming sounds, characteristic sounds the result of calculating mistakes or computer crashes, and he develops an original processing style for handling them, whose repetitive patterns convey depictions of the internal organizational mechanisms of digital systems. Pop sees concepts such as musical intuition and creativity in the Age of System Theory and Digital Calculating as obsolete. He also sees the musician as being the mediator of technological aesthetics; lives in Berlin.

The 6th full length release from markus popp (aka oval) finds this world renowned digital mastermind extending the concept & musical platform of last year's acclaimed ovalprocess in every way. exploring a spectrum of sounds between the abrasive sandblast of neo desktop rock (tracks 1-3) and the alienating, timeless splendor of dsp chamber music. in between there are unique excursions in folk electronica (track 4) and pop inflected wall-of-sound tunes that could only come from the mind of oval. popp describes ovalcommers as a 3d musical obstacle course, a friendly and accessible invitation to complexity. ovalcommers surprises with poetic and playful elements (organs and layers of guitar feedback), making room for understatement, sophistication and a new, almost absentmindedly casual atmosphere. haunting emulations of processed brass, string and woodwind sections are carefully added to the otherwise still angular desktop rock. listeners will leave ovalcommers with a new perspective on oval in general, as popp's strategy becomes clearly visible: a friendly, yet relentless fanaticism to experiment and innovate musically."

Read the full interview here

Download Ovalprocess here

Of course, artists needs support, so you can buy it online (Cd or Lp),
on www.a-musik.com

Balanescu Quartet Play Kraftwerk

Strange to notice that Kraftwerk are classically trained musicians that spent the late 60s and 70s removing 'real' instruments from their recordings by designing electronic replacements.

This ironic recording is also iconic in the way in which it restores the underlying classical undertones to the tracks whilst remaining faithful to the originals.

Interestingly whilst some might describe the original Kraftwerk pieces as sparse in this performance they appear lusher than your standard quartet pieces.

Here another version with David byrne, as an introduction for you

synthetizers pioneers & contemporary flowers

Switched on Bach was the best selling classical album of all time in its release. The album consisted of Bach two part inventions, short pieces such as Jesus, Joy of Man's Desiring, and one of the Brandenburg concertos. It was recorded on one of the first commercially available Moog synthesizers. The entire device was created from discrete components. Circuits were completed by using patch cables. It was a completely analog device; no chips or digital processors as we know them. Sequencers had not been invented yet. She was a master of multi-track recording. Because the synthesizer was monophonic (only one key at a time could be pressed), the individual parts were tediously recorded one at a time, synced with click tracks, and remixed.She worked closely with Robert Moog on advancing the state of the art of the synthesizer. (Robert Moog sadly passed away last year, along with John Simonton of PAiA, another synthesizer company pioneer). She went on to do the music for Clockwork Orange, The Shining, and Tron. She was also one of the pioneers of ambient music, releasing Sonic Seasonings in 1972. It was a double record set, with each side containing a single track representing a particular season. All the sounds created on the album were synthetic. No samples were used. This is still before digital synthesis and recording techniques were invented. Sonic Seasonings was released well before Brian Eno created Music for Airports, another important early ambient album. Many of her earlier albums were high quality quadrophonic recordings, but she dropped the format, unhappy with early efforts in surround sound.
I first bought it just for the album cover in a small market in london during the 90's. Was a real surprise to be able to listen to this sixties best seller ufo.

***
In a same but more contemporary & digital way to sequence things, Marty Frank Aka Abelcain produced, in 2005, "suite for Harpsichord" under the pseudonym Harpsicorpse for Zhark records., held by Rachel Kozak Aka Hekate. No beats, as well as no samples were used. Just pure harpsichords sequencing, and this religious & haunted scary feeling that it can give.
No surprise from Marty "Abelcain" Frank about taking that direction, knowing that he used to make a radio show by the name of Vincent Venom's "Creature Feature" on WSUM radio in Madison (U$A).
A must have!

Zhark archived the first show here. Check the new website and their wonderful free new compilation.
fresh air! Please support them.

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Stock hausen and walkman - Organ Transplant vol.1&2

Once again, there is two of my bedside records i had to buy again after such an insistent listening.
Fantastic cover and Inside you will find some fabulous dada audio collage and aberrant queasy listening cut-ups from these mysterious sonic pranksters. This is very odd, very entertaining and displays an unhealthy and irreverant sense of humour, which for an instrumental album is quite a feat.
A must for the best freaks coktail parties. No repress, so on a way not easy to find these days..

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Masaru Satoh - Yojimbo (1961)

Original soundtrack from the film by Akira Kurosawa
Composer: Masaru Sato
Number of tracks: 50
Total listening time: 43:10
Format: mp3
Quality: 192 kbps / 44.1 kHz / Stereo
File size: 51,2 MB

One more in the same genre, i like this soundtrack for its funny melodies and japanese old percussions. Goood groooves..

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Akira Ikifube - King Kong Vs Godzilla - 1962

From the "pretty-named" La-La Land Records, Here is the Original motion picture soundtrack to the classic 1962 Toho Studios monster thriller "King Kong Vs. Godzilla." Legendary composer Akira Ifukube ("Godzilla") fashions a spellbinding orchestral score to chronicle this one-of-a-kind battle between two of filmdom's most beloved creatures. Remastered from Toho Studio vault sources, with bonus tracks and featuring exclusive liner notes, this is the definitive release of Ifukube's amazing score.

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Kosmos - Soundtracks of Eastern Germany's Adventures in Space

Now this is something different! Kosmos brings together a collection of music from East German Sci-Fi movies from the '60's & '70's. Composed by Karl-Ernst Sasse & Günther Fischer, two of East Germany's most important movie soundtrack composers, the music on this CD/LP is a real smorgasbord of styles; from groovy beat, to folk and through to ambient and weird electronic noises. Interspersed with vocal and electronic SFX from the movies themselves, listening to this collection is like taking a fascinating long and weird intergalactic journey. Turn the lights out, listen and get spaced out!


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ANS Synthesizer: russian early electronics (1964 - 71)

Electroshock Presents: Electroacoustic Music Volume IV: Archive Tapes Synthesizer ANS 1964 – 1971.
Electronic works by Oleg Buloshkin - Sofia Gubaidulina - Edward Artemiev - Edison Denisov - Alfred Schnittke - Alexander Nemtin - Schandor Kallosh - Stanislav Kreitchi.
Electroshock Records ELCD 011. Duration: 72:07.

Historical issues of electronic and electroacoustic music are always welcome. They tend to feel very fresh and original, since they were achieved at the beginning of an evolution, at the very start of a tradition, when the composers tried out new ideas of sound and the treatment of sound through machinery that was developed simultaneously.

01 Oleg Buloshkin Sacrament (3:34)
02 Sofia Gubaidulina Vivente-Non Vivente. Alive And Dead (10:44)
03 Edward Artemiev Mosaic (4:00)
04 Edward Artemiev 12 Looks At The World Of Sound (12:52)
05 Edison Denisov Birds\' Singing (5:05)
06 Alfred Schnittke Steam (5:50)
07 Alexander Nemtin Tears (4:41)
08 Alexander Nemtin I. S. Bach: Choral Prelude C-dur (2:30)
09 Schandor Kallosh Northern Tale (5:38)
10 Stanislav Kreitchi Voices Of The West (2:00)
11 Edward Artemiev Music From The Motion Picture \"Cosmos\" (12:15)
12 Stanislav Kreitchi Intermezzo (2:00)

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Graphic Scores

Sesame Street - 30 Dots (Circles vs. Squares)

Animation by Norman McLaren from 1971 created by using an optical film printer

In the 70's, Rainer Wehinger created a "Hörpartitur" or "score for listening" for the piece Artikulation by György ligeti, representing different sonorous effects with specific graphic symbols much like a transcription.

Wanna try? György Ligeti - Articulation - An Aural Score By Rainer Wehinger. Not the traditional score but a sort of mainline to play the composition with electronic instrument. here.

Next is "Animated Graphic Store 1", created by Leafcutter John (Planet Mu, Schematic, Krankrieg), and played by Kammer Klang Quartet.


Here is a visual interpretation of Erik Satie's famous piano suite Trois Gnossiennes. The movement of each column maps the physical activity of each the pianist's fingers respectively.

Now, Beethoven - Bagatelle, opus 33 #5 accompanied by a bar-graph score. Rendition and graphics by Stephen Malinowski. with the The Music Animation Machine (MAM). More informations about the machine here.

An unseen animated graphic score was played on a projector. a crowd of around 30 people (mostly voice and 6 instrumentalists) improvised along with the visuals.
This event explored how an animated graphic score can create a musical dialogue between a group of musicians and non musicians, young and old, drunk and sober.' Shane Mc Kenna
Probably the best way to show a music score to young kids, as a introduction.