Jun 29, 2010

Digital Hardcore: Shizuo VS. Shizor (DHR LP 7 - 1997)

Country: Berlin, Germany
Style: Breaks, Noise, Breakcore, Experimental
Format: Mp3
CBR: 44.1Khz, 320kbps.

Ugly underground cover for a fantastic old school record. Shizuo was the Digital Hardcore Recordings manifestation of David Hammer (born in 1973, in Berlin), with occasional vocals and an animated stage show by Annika Trost. Their 1997 album Shizuo Vs. Shizor wowed critics with its giddy, crazy blend of punk rock electronics. During the popularity with Shizuo's music, David also started a band with Annika and Razi Barakat called Give Up (Razi had earlier been featured on The Cramps cover song "New Kick"), but the band later broke up after the 1997 DHR tour due David's heavy usage of LSD, as a serious disagreement with creative differences led to David legitamely attacking Razi half way through their set.[citation needed] The two would never collaborate again, as both were interviewed about the incident in the short lived DHR fanzine.
Hammer's last release under the Shizuo alias was with the self released vinyl Shizuo No.1 in 2000. He was last seen playing guitar in a Berlin based band called The Nothings. Trost now performs solo or with Cobra Killer. One of the best of my breakcore' classics. Where are you Shizuo?

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Jun 26, 2010

DRUMS: Dylan Elise

 Dylan Elise performing at the Tauranga National Jazz Festival in New Zealand
Some parts are close to noise or digital speedcore. Amazing High beats & improvisation
Wish you good luck for midi programmation josh ;)

The Summer is Now: Wevie Stonder - Eat your own Ears (1999)

Open your window, and listen to this. Bricolage, Collage, all in a funny way and reactive melodies. close to stock hausen and walkman, but not so. One of my classic collage pop again.

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Jun 22, 2010

Nomex Live at Datacide + Cagliostro Soliparty Berlin 14.05.2010

"Those works created from solitude and from pure and authentic creative impulses - where the worries of competition, acclaim and social promotion do not interfere - are, because of these very facts, more precious than the productions of professionals. After a certain familiarity with these flourishings of an exalted feverishness, lived so fully and so intensely by their authors, we cannot avoid the feeling that in relation to these works, cultural art in its entirety appears to be the game of a futile society, a fallacious parade." - Jean Dubuffet.

Jun 9, 2010

Fine Tuning: Future Is Not What It Used To Be - Erkki Kurenniemi

erkki kurenniemi - ÏÅnityksiÅ 1963-1973

The most ambitious of Erkki Kurenniemi's projects was the series of digital synthesizers, called DIMI, in the early 1970s. For example, Kurenniemi's video synthesizer DIMI-O (1970-1971) converted any movements recorded by the video camera into real-time sounds and music. DIMI-S (also known as the "Sexophone") was able to generate sound and light by contact with the skin, reacting to the emotional state of the performers. Kurenniemi created the first commercially manufactured and marketed microcomputer in 1973, two years before the American MITS Altair 8800. Nowadays many of the Kurenniemi-created instruments are in the possession of Swedish collector Ralph Lundsten, the owner of Andromeda electronic studio.

Dimi-S Schematic 
Mika Taanila has directed a documentary film on Him. The title is "The Future Is Not What it Used To Be", premiere November 2002, and it is accompanied by a compilation of Kurenniemi's previously unpublished electronic compositions from the 1960s on Love Records. A DVD version (June 2003) entitled The Dawn of DIMI contains the documentary, plus Kurenniemi's various short films and animations and concert footage from the early 70s.

Extract from the dvd Erkki Kurenniemi -- The Dawn of Dimi DVD (2002)

 Here is an extract from Pan Sonic + Carl Michael von Hausswolff + Erkki Kurenniemi -- live @ Kiasma theatre, Helsinki, Finland 21-10-2002. 
or "how to be payed 3000$ in a museum to play with a microwave"
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Jun 5, 2010

Mouse On Mars - Instrumental LP (1997) & Live Session

Mouse On Mars. I used to love and listen that band so much in the 90's. Various differents post-dance-no-style-electronic-noise-experiments, from pure ambiant, gliches, noise to ultrabeats, always in personal approach, and nevertheless "musical" way. Totally in accords to my listenings of guys like squarepusher evolution, Oval, Aphex, Bogdan, wabi Sabi or Stock, Hausen & Walkman at the same times., far from my Noise listenings. When experiments in electronic music was a school to follow, not making claim to distinction. Some tracks were really part of my life playlist, and keep on. Some of  the Instrumental Lp. Take it here

St. Werner and Toma are childhood friends who were born on the same day, in the same hospital. Their first album, Vulvaland, was released in 1994 on the british record label Too Pure. This is considered their "straightest" and most focused album, mixing ambient and techno. Their second album, Iaora Tahit, has a much more playful feel and encompasses a wider variety of electronic dance genres. Read more

Extract from a liveshow in 2000. A blast compared now to the (now) laptop Era. Something to ear, to see, to feel. Improvised and remixed.

If u liked this or knew from them already, i suggest you to listen to that live recording here did in 2000. Different approach of some hits, with bass, drum and electronics, really close to their peel session. Nothing compared to what they do now, unfortunatly..

More info:

Jun 2, 2010

Automatic String quartet , by Frank Pahl

Four ukuleles, one toy organ and minimal percussion provide the rhythm and ambience for a Brian Eno inspired composition. The quartet is sequenced by a microcontroller and triggered by the opening of the score (a mercury switch is embedded on the first page of the score). I believe the motors are 60 rpm, hence the tempo.

For more, visit playgallery.org, UM School of Art & Design's gallery for time-based work.