Jun 16, 2009

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)

/link in cover/

Jun 14, 2009

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.

Squarepusher - live at laforet museum roppongi, tokyo


Squarepusher - live at laforet museum roppongi, tokyo (15-05-2004)

2 parts, 2 hours of electronic experimentations around his classics, crazy free jazz bass impro. A pure happiness.
By this recording, you can feel the japanese audience, like if you were there. Charming.

/link in picture/

Sound Design? Roland Olbeter, Fast Blue Air

Roland Olbeter and his team conceived, built and programmed the instruments and a MIDI to PLC converter, the incredibly inspired composer Elena Kats-Chernin wrote the score in Sidney before knowing the actual machines (at that stage she only knew a briefing of their possibilities and their note range).

"Music for strings and drum.
Seven musical pieces for five robot instruments: two violins, a viola, a cello and a drum.

The electro-acoustic instruments use pneumatic micro-pistons fired by a midi program to determine the
pitch of the strings. Each instrument has two kinds of pizzicato (piston) and two e-bows (a system of changing-polarity electromagnets), which keep the strings in resonance and produce an infinite sustain.They do the same as a traditional bow with a string instrument.

The sound is amplified and post-produced using synthesisers.

Written by the Australian composer Elena Kats Chernin, the seven pieces has been commissioned by the German company Festo and were premiered in April 2007 to mark the 50th anniversary of the Hannover Industrial Fair."
Elena Kats Chernin
Roland Olbeter
Sound Engineer:
Carlos Fesser

Check his website. Its amazing  >>> www.olbeter.com<<<<

Piero Umiliani: 5 Bambole per la Luna d'Agosto / La Morte Bussa Due Volte

Today is sunday, so what could be more pleasant than a fluffy soundtrack. the great Piero Umiliani produced these groovy scores in '69 and '71. Both are for sexy thrillers, but the mood on these soundtracks is decidedly light and easy going, not suspenseful or tense. Spies, detectives, and sexy dolls.

5 Bambole per la Luna d'Agosto (5 Dolls for an August Moon) is the score for an uncharacteristically easy going Mario Bava murder mystery. It's kind of a "10 Little Indians" for the swinging 60s set, taking place in an ultra modern beach house on a private island. There's a lot of cocktail swilling party games and carefree infidelity, and -- oh yeah -- some timely murders. The movie, despite its collection of dead bodies, is a rather light affair, thanks particularly to Umliani's breezy, beat driven score. It's easily one of his best. It's been said that the movie is a half-hearted Bava film. The film's score, however, is whole-heartedly Umiliani. Dolly Beats, Hammond organ, piano, flute, vibes, jazz guitar and rolling bass predominate the arrangements.

La Morte Bussa Due Volte (Death Knocks Twice) is even more laid back. The beats receive fuller orchestration with strings, horns and brilliant wordless female vocals (courtesy of I Cantori Moderni di Alessandroni). Again, the film is suspenseful, yet the score avoids suspense in favor of ballads, like the enchanting "Un Posto Per Un Addio 2" (better on my point of view than the hit english version) and pulsing Latin dance numbers, most notably "Bob E Hellen" which, along with "Danza Citar Free" from 5 Bambole.
Both scores are highly recommended for fans of Umiliani and of groovy soundtracks in general.
Quite rare or insanely expensive, so here it is: here and here


Jun 13, 2009

More Than Hip Hap: Dj Krush - Strictly Turntablized

All Music Guide: "Poised halfway between a late-night downbeat record and a nearly anonymous beats-and-breaks volume, Strictly Turntablized was one of the first trip-hop records out of the gate, but the subtitle says it better than any review could: "Excursions into the hip-hop avant-garde." DJ Krush's productions were deeper than Cam's and darker than Shadow's, and if they seldom averaged more than one or two ideas per track, most of them made up for it with a heavy dose of atmospheric menace. "Kemuri" paved the way with a break to make Premier himself proud, and just enough scratching to preserve the vibes. "Fucked-Up Pendulum" was interesting as well, earning its title with an offbeat (literally) sample that was more musique concrete than hip-hop. A few other tracks were solid examples of instrumental hip-hop, but several others sounded in dire need of vocals to break them up. Krush would later learn how to give his productions voice, but with Strictly Turntablized he built the foundation for trip-hop to come."

/link in cover/

Jun 12, 2009

Fred Frith: Step across the border

A ninety minute celluloid improvisation by Nicolas Humbert and Werner Penzel
"Improvisation" here refers not only to the music, but also to the film itself. Humbert and Penzel state in the 2003 DVD release of the film:
In Step Across the Border two forms of artistic expression,improvised music and cinema direct, are interrelated. In both forms it is the moment that counts, the intuitive sense of what is happening in a space. Music and film come into existence out of an intense perception of the moment, not from the transformation of a preordained plan.
The film is not narrated, and the musicians, the music and the locations are not identified. Instead it is a sequence of snapshots taken of Frith and musicians he has worked with, rehearsing and performing, interspersed with apparent random images of movement (trains, cars, people, grass) that blend in with the music. The improvised nature of the film and its direct cinema approach make it more of an art film than simply a documentary on a musician.
The music in the film is performed by Frith on his own, with others, and by others on their own. Some of the music is improvised, some is composed material performed "live", and some is previously recorded material played as accompaniment to many of the "movement" sequences in the film.
The recording of the film coincided with the formation and activity of Frith's review band Keep The Dog (1989–1991), and many of the participants of the band appear in the film. There are even a few rare glimpses of the band rehearsing. René Lussier in particular, features prominently and "interviews" Frith about his musical upbringing and approach to music.
The title of the film comes from the lyrics of the song "The Border", recorded by Skeleton Crewon their album, The Country Of Blinds (1986). A "video" of this song also appears in the film.

"knowing you're being filmed. not knowing. knowing, as you watch the screen, that you knew you were being filmed. knowing that you didn't know. the subtle degrees of self-consciousness. the vanity on seeing yourself on the screen, and the vanity of saying: "i can't stand to see myself on the screen" (because you don't come across as the perfectly balanced human being you know you really are!). trying in interviews to pinpoint the things that are important to you and discovering how elusive they are, how hard to define. as part of the same process, realizing how much of what you say is habit, something long ago formed into an opinion and reiterated without regard to changing circumstances and feelings. unlearning, finding yourself out. detachment as the only way to survive the experience, to escape from the false authority that the screen imparts, the inevitable partiality of it. and learning to de-emphasize things in your mind - it's only a film, it's not "you", just a few moments from a few moments. the importance of trust. knowing that the filmmakers came from a love of the music; not to make money, not to be fashionable, not to promote something and not to fulfil an agenda. not trying to control the results. this is nico's and werner's film, not mine, and i couldn't change their way of seeing things even if i wanted to. improvisation. accepting your luck. in the end, shock at how close the pictures are to the spirit of the music. such poignant images, such musical editing. and: the audience experiences the action in the present, but for me it's always the past, a summing up. seeing the film allows me to shade this past like a skin. far from feeling constricted or defined, i am somehow liberated into my own present. i didn't expect this..." (fred frith, 1990)

DVD rip_VO_with French Subtitles
[RS] link: 1, 2, 3, 4, 5, 6

Tony Oxley / The B.I.M.P. Quartet - Floating Phantoms

Tony Oxley / The B.I.M.P. Quartet - Floating Phantoms

Many would be tempted to emphasize the cross-generational lineup of Tony Oxley's B.I.M.P. Quartet, the drummer and Phil Wachsmann belonging to a different age scale than Pat Thomas and Matt Wand, but the real "unknown variable" here is the cross-stylistic element the latter represents. This sampler artist is best known for his work in the irreverent experimental electronica duo Stock, Hausen & Walkman. Free improv fans have a right to feel weary of this team-up, but one needs to remember Oxley's long-lasting love for live electronics, dating back to the 1970s (some recordings with Howard Riley and Barry Guy are quite "out there"). Wand manages to tone down his personality without annihilating it, and the fact that both violinist and keyboardist also use electronics draws the sampler's voice deeper into the group's sound. In short, a true effort is being made to incorporate Wand into the group. Nevertheless, the most exciting moment arises when Thomas explodes all over the piano, dragging a feverish Wachsmann and Oxley along with him for the finale of "Stream Line." The odd sampled voices bring a nice touch in "On Line" and in general the group displays enough synergy and textural interplay to make Floating Phantoms a worthy record, but it fails to establish Wand as a strong improviser. Still recommended, if only for the crystal-clear recording of the percussionist's every bang and clang. The performance was recorded live at the 1999 Total Music Meeting and is the first release on FMP's subsidiary, a/l/l. François Couture

1. Line In
2. Line Out
3. On Line
4. Stream Line
5. Beam Line

Tony Oxley - percussion
Phil Wachsmann - violin, electronics
Pat Thomas - piano, keyboards, electronics
Matt Wand - sampling

Recorded live on Nov 5 1999 during the Total Music Meeting in Berlin
Released by a/l/l (a division of FMP) in 2002
[RS] link

Sunn O))) - Monoliths And Dimensions (2009)

Sunn O))) - Monoliths And Dimensions (2009)

Artist: Sunn O)))
Album: Monoliths And Dimensions
Year: 2009
Genre: Drone
Bitrate: VBR
Size: 87.0 MB

1. Aghartha (17:34)
2. Big Church [Megszentségteleníthetetlenségeskedéseitekért] (9:42)
3. Hunting & Gathering (Cydonia) (10:02)
4. Alice (16:20)

Spymania Allstars - "welcome to celebrity fog donkey" (1999)

Mr Jay said "The sound of artists making music at 4 in the morning whilst trolleyed on substances, with thier tongues wedged firmly in thier cheeks. Should be a load of old tosh but manage to produce some excellent stuff, some bizarre tracks and the odd classic (WAFTA 12"). Put out Squarepusher 12's before Rephlex or Warp so you know they're the boys. Listen with a smile and an open mind".

Label: Spymania
Catalog#: spy 011
Format: CD
Pays: UK
Année: 1999

01 - Ipam Belf- Henry's a bastard
02 - MDK - We live in a world of shit
03 - Steev - Isolation
04 - T. Maxx (aka Squarepusher) - 8 rigs of trance
05 - Transbeauce - 01-53-54
06 - Cassette boy - Parker knoll
07 - Smog carver (ex µ-Ziq member) - Mariiia
08 - The cat called eastern - Blue suede moon
09 - Telephone sales executive - Young & enthusiastic
10 - Pleated lemon - Safety song
11 - T3 perm leech - Orienteering is fucking rubbish
12 - Spandex - Underage assistant
13 - Transbeauce - 04-23-37
14 - T. Maxx (aka Squarepusher) - Reverse cooper
15 - Big man ace meets snake's leg - Distro
16 - The trouts - Carly's mum
17 - MDK - Nine mile body rig
18 - Do grin edits - Sitting on the mong everyday
19 - Smog Carver - Nacre

Find it here

Jun 11, 2009

Matt Duffin

Crowd control, wax on illustration board (23″ x 25″), 2006.

source: mattduffin.com

Marcus Schmickler: Wabi Sabi (Vinyl, LP-1996)

Attention, Talent!
Wabi sabi is a staggering sounding, beautifully packaged and simply significant contemporary electronic album by marcus schmickler out of the thriving german underground music scene. schmickler has one release under his own name on the odd size label in france, and was a contributing member of pol and kontakta on the same label. most recently he released the exceptional pluramon pick up canyon album on the mille plateaux label (which featured the guest drumming of jaki liebezeit). this cd consists of two pieces: "wabi sabi" -- a devastating 33 minute 2-channel spatial composition that mixes gorgeous flowing electronics ala francois bayle with moments radio-static density and transcending sound waves. "param" is a shorter work of 2-channel, powerfully droning electronics. "the pair of terms wabi and sabi are expressions of an attitude towards life that draw the power of artistic creation from silence and decay.

A record I had to buy 3 times, so often i had listened to it. It deserved at least to be shared with three persons. You will agree on it ;)


Wabi Sabi (Part 1)
Wabi Sabi (Part 2)
Credits: Artwork By [Cover Artwork] - Heike Sperling
Composed By - Marcus Schmickler

/link in the cover/

Last Night I Listenened To... Muzyka Dla Imigrantow

Muzyka Dla Imigrantów
was an EP by Bogdan Raczynski, released on the Famous Rephlex label, in 2001, same year of the Aphex Twin's drukqs, Squarepusher's Go plastic and Venetian Snares's Doll Doll Doll
. That's why maybe it took me a year to notice its existence. Dear old good years, where are you?

The CD was limited edition and only available originally through

Translations of the titles are listed after, in parentheses.

  1. "Długa podróż w chmurach" (Long journey in clouds)
  2. "I co dalej" (What's next)
  3. "Żegnaj ziemio ojczysta" (Goodbye fatherland)
  4. "Żegnajcie ołowiane żołnierzyki" (Goodbye leaden soldiers)
  5. "Zagubiona dusza w tłumie" (Soul lost in crowd)
  6. "Pierwsze kroki" (First steps)
  • GŁOS, AKORDEON, TRĄBKA, HARFA, FUJARKA - BOGDAN W. RACZYNSKI (voice, accordion, trumpet, harp, pipe - Bogdan W. Raczynski)
  • NAPISY: MAMA I TATA (inscriptions by mommy and daddy)
  • DLA MAMY I TATY (dedicated for mommy and daddy)
Pure beauty, which encourages me to continue my investigations in addition to electronic music. "Długa podróż w chmurach" bring you immediatly into it, while argumenting with your girlfriend, sitted in your armchair while smoking a cigarette, or looking by the window a rainy evening, like now. Time stop, as suspended. That moment when the title "music for immigrants" takes all its senses. Some rare grooves appears sometimes. Thank you bogdan!

Actually sold out for a while now. So, pleased to share my copy with you

Jun 10, 2009

What are the Frequencies of Human Brain Waves?

“Beta waves range between 13-40 HZ. The beta state is associated with peak-concentration, heightened alertness and visual acuity….. 40HZ beta frequency may be key to the act of cognition.”

Alpha waves range between 7-12 HZ. This is a place of deep relaxation, but-not quite meditation. In Alpha, we begin to access the wealth of creativity-that lies just below our conscious awareness – it is the gateway, the entry-point that leads into deeper states of consciousness. Alpha is also the home-of the window frequency known as the Schuman Resonance, which is the-resonant frequency of the earth’s electromagnetic field.

Theta waves range between 4-7 HZ. Theta is one of the more elusive and-extraordinary realms we can explore. It is also known as the twilight state-which we normally only experience fleetingly as we rise up out of the depths-of delta upon waking, or drifting off to sleep. In theta we are in a waking-dream, vivid imagery flashes before the mind’s eye and we are receptive to-information beyond our normal conscious awareness. Theta has also been-identified as the gateway to learning and memory. Theta meditation increases-creativity, enhances learning, reduces stress and awakens intuition and-other extrasensory perception skills.

Delta waves range between 0-4 HZ. Delta is associated with deep sleep. In-addition, certain frequencies in the delta range trigger the release of-Growth Hormone beneficial for healing and regeneration. This is why sleep,-deep restorative sleep is so essential to the healing process.

source: cellphonesafety.wordpress.com