First off, I want to wish my daughter a happy birthday. STARTLING MONIKER readers know her as DJ Mo, but may not be aware that much of her photography appears throughout this blog, especially in the commentary entries. Happy birthday, Mo!
Archive for June, 2007
As my radio listeners know, I’ve snagged a few cool musicians on their way to or from the Lemp Neighborhood Arts Center, a fantastic venue for experimental and difficult music in St. Louis. Over the past few years, I’ve hosted Jon Mueller, Jim Schoenecker, Bryan Day, Alex Boardman, Joseph Jaros, Luke Polipnick, and P.D. Wilder. It’s safe to say that without the draw of a fine tour stop like Lemp, I would not have been able to draw these musicians to the area.
I decided to make it up to Lemp for a show featuring Zelienople; Mike Tamburo; Learn Artist; and Epicycle, a project of Lemp Arts founder Mark Sarich. I was also hoping to have some time to visit the highly-recommended Apop Records store, having recently visited Vintage Vinyl and finding nothing that interested me. (more…)
Topics include how I choose music for my broadcasts, the state of modern radio, and the nature of experimental music. It’s all straight from this horse’s mouth! I hope you’ll take the time to read and respond to both.
Finally, I want to ask all my readers to please keep my new horse in your thoughts. As you can see here, he seems happy, but for some reason, he won’t eat. I am sick of eating sugar cubes to demonstrate how “yummy” they are. If this situation doesn’t approve, I may have to send him to meet Barbaro.
I started off this broadcast with Mystified’s advance for “Fatal Planet,” a disc inspired by the original soundtrack for “Forbidden Planet,” both in concept and construction. It’s some good stuff, especially for those familiar with the original. Oddly enough, I was reminded a bit of a new disc of previously unreleased material from Annea Lockwood– this being the “Floating World” portion of “Thousand Year Dreaming/Floating World,” currently available on Pogus Productions. Both Lockwood’s work and Mystified’s set up ‘mirrors’ of a sort– Mystified’s is giving us a new look at the older work by the Barrons’, and Lockwood’s is a collection of places; set in amber, as it were. It was definitely interesting to contrast these two works, and they flowed together quite well.
I am now playing from the Last Visible Dog Records release “Somethings #1,” compiled by Ilya Monosov. I have been listening to a lot of quiet, often field-sourced recordings lately, and I wanted to hear Nick Castro’s contributions this morning– however, this album is so well-constructed that I ended up letting it roll– Masayoshi Urabe and Sarah Peebles got to come along for the ride; I hope you’re enjoying it as well!
Oops! I had some visitors stop in, which naturally makes it a bit difficult to liveblog. I played a lot of good stuff, though, as you can see in the playlist. If you’re mad at me, remember that I’ll be back next week and we can try it again.
I almost forgot to mention: I’ll be at Lemp Arts tonight for the Zelienople/Mike Tamburo show. If you see me, be sure to introduce yourself!
Update: Here’s the full download of this broadcast, as a single mp3 file, recorded from the radio stream. If you require any information about any of the artists or labels on this broadcast, don’t hesitate to ask me for assistance.
Mystified — Fatal Planet pt.1
Mystified — Fatal Planet pt.2
Mystified — Fatal Planet pt.3
Annea Lockwood — Floating World pt.1
Annea Lockwood — Floating World pt.2
Mystified — Fatal Planet pt.4
Mystified — Fatal Planet pt.5
Mystified — Fatal Planet pt.6
Mystified — Fatal Planet pt.7
Nick Castro — Study in Miniatures
Nick Castro — Nature Music
Nick Castro — Shy Jack and the Suitcase
Nick Castro — Motor Music
Masayoshi Urabe — Untitled
Sarah Peebles — Music for Incandescent Events no.1, after sunset with crescent moon setting over field
Fe-Mail — It Becomes Her
Fe-Mail — In Den Schonen Gruen Wald
Fe- Mail — Pretty Song
Western Automatic — The Burlap Tundra
Ilya Monosov, Preston Swirnoff — The Sea Within
Mike Tamburo — Ghosts of Marumbey (excerpt)
Warm Climate — NASA March
Warm Climate — Creole Accordion Whisper
Brent Mini & Eric Lampton — Vast Living Intelligence System (Synchronicity Music)
Iamheard — Hongistola
Santtu Hirvikorpi — Komako
Palvelu — Toinen Iaulu
Haute Cuisine — Une Saison en Enfer
Robert Horton — “I am not a centipide”, said Mary Poppins (for P.L. Travers)
Zeno Izen is a fellow blogger, whose writing at his Hollow Tree Experimental Music Report has inspired me on more than one occasion to get off my ass and provide for you, my reader! Back in March, we decided to interview each other– and while Zeno has been slaving away over his half of the writing, I’ve taken my cue from Andy Warhol, and simply present it as a huge block of unedited text.
Carry on for the full interview, and some random photos I have taken over the past few years… (more…)
In the interest of learning a bit more about the mysterious artist Ophibre, whose anonym serves as the sole appellation of both his person and label; I wrote to inquire about conducting an e-mail interview.
Knowing full well the abstruse nature of Ophibre, I was still somewhat surprised to receive his answers– each as a separate audio file, with his voice bearing the stamp of several different transformative processes.
Although I had initially considered transcribing Ophibre’s responses as well as offering the recordings, I was concerned that doing so would encourage users to avoid the audio files, which certainly lessens the total experience. Ophibre also wrote to encourage me not to provide transcriptions, and his reason is compelling:
“I would feel better if the answers were not transcribed and the listener would be forced to listen multiple times to fully comprehend, like learning how to understand another language.”
What follows are my original written questions, each followed by a short audio file with Ophibre’s response. The total size of the six files is less than two megabytes, so do not fear, dial-up users! –DaveX
1) I have to get it out of the way right off– how do you say “Ophibre,” and what does it mean? Barring a meaning, where did this name come from? How long have you been making music?
2) If “Puzzle Pieces” and “Shattered CD” are any indication, repetition is a pretty big element of your work. Still, I have to admit that I find some moments, such as the opening to “Shattered CD” to be pushing this repetition a bit far. Assuming this is purposeful on your part, what’s the idea?
3) One thing I have noticed (and some other reviewers as well, it seems) is that you have a good sense of space in your recordings– be it lengthy periods of silence, or simply the feel of the recordings themselves. When considered alongside the ubiquitous bagged items, it seems safe to believe the physical to be a strong influence for your ideas. What are your thoughts on this?
4) In my review, I mentioned your relative anonymity– both as an artist, and of your work’s intent. Sometimes, however, a blank slate invites listeners to over-examine a recording. Care to shed any light on the meanings behind your recordings, or on your anonymous status?
5) What are you listening to lately? Any favorite recordings you’d like to share with STARTLING MONIKER readers?
6) What’s coming up for Ophibre, both artist and label? Any plans to tour?
Here are some links to the artists mentioned in Ophibre’s response to question five. Because at least one name is rather common, it is entirely possible that Ophibre was referring to another artist. Here they are, in order of mention:
My traveling companions on last night’s trip to drop a friend off at work didn’t think too highly of me listening to “The Metal Show” on my favorite radio station, WDBX-FM. Of course, a bad headache doesn’t normally incline one to seek out black metal, does it?
I ended up channel-surfing, and caught the opening notes of Metallica’s “The Unforgiven,” a song I surely listened to many times in junior and senior high school, and on a “classic rock” station no less! It stung a bit to see my adolescent faves lumped in with Bad Company and Foghat.
My first thought– “Crap, I’m old.”
Yes, I used to be a little metalhead. I wore through a few copies of Master of Puppets, and could sing along with pretty much every Metallica song… and most of Megadeth’s, too. With my limited funds for purchasing tapes; Jimi Hendrix, Nirvana and these two bands provided more than enough listening material, especially given that this was around the time MCA went beserk and started releasing those “Ultimate Experience” tapes and re-issues to confuse me!
I’m getting sidetracked. Suffice it to say that I spent a lot of time listening to Metallica. I can barely recall my first job as a golf course lackey without simultaneously conjuring the bored, sweaty hours spent picking up balls on the range while lugging my mom’s yellow “Sport” Walkman around– those crummy hard plastic ear bud torture devices jammed deep into my ear canal, channeling James Hetfield’s desperate growl straight to my brain. Most of all, I remember rewinding the solo from “Shortest Straw” over and over, unable to believe in Hammett’s incredible finesse. The rest of the time, I flash back on the lyrics of “The Unforgiven,”
“They dedicate their lives / to running all of his /He tries to please them all / this bitter man he is…”
My life sucked. Sue me for having an overworked sense of drama! Between working for a pervert, lacking the confidence to assert myself, and generally being a social outcast; I’m surprised I didn’t take the Judas Priest route and “do it”.
Anyhow, I knew I was getting older; there have certainly been plenty of signals. Megadeth signed to Sanctuary Records, who seem to specialize in bands with one foot in the county fair… then Metallica released a steaming pile apparently featuring Lars Ulrich playing his electro-snare/anvil… and then AC/DC actually came back as a pre-teen t-shirt phenomenon– how weird was that? I mean, this is the T-shirt Butt-head wore, right?
I guess I just hadn’t found a convenient frame of reference yet to judge the “now” alongside the “then.” For whatever reason, hearing Metallica on a classic rock station did it for me. And while I congratulate them on finding another radio teat offering the endless flow of royalty manna, I’m not exactly thrilled with the feeling that I’m an old-timer.
Late last month, I said that the Edgetone Records release of Nihil Communication’s “We Are Violent,” reminded me of “a compressed version of everything that creeps me out about Diamanda Galas’s best work, but without the volume or the howling.”
I was on the right track, but not close enough to the truth– realistically, this album seems to cover more than simple personal fright– but instead, conveys a portion of the greater fearsomeness of the world. Rather than simply conjure a series of aimless spooky “washes,” Andre Custodio seems to set his sights on more cosmic, xenophobic territory. I chalk it up to Custodio’s success in this endeavor that I am experiencing such a difficult time even describing it; “We Are Violent” seems to combine the dread of our unknown future with the unsatisfactory emptiness of the universe.
This is the blues, as written for existentialists.
One of the most impressive aspects of “We Are Violent” is the recording quality itself. This disc will very nearly rattle your speakers off the wall before you hear much of anything– even at high volumes, you’ll feel this disc as much as you hear it. In some spots, there was enough of a breeze coming from my subwoofer to dry laundry.
Like many things I enjoy, “We Are Violent” exists at both ends of a continuum. It is calm, but aggressive. It is somewhat featureless, but easily disturbing. For fans of Brian Eno’s “Apollo,” or Francisco Lopez’s work, this is another fine album to check out.
I started the show a bit early, to cover for Brian (host of the Gamer’s Guild) who was feeling exhausted. I had spent a good portion of my day listening to Rabbit Girls “Audio Insurgency,” (also reviewed it in the prior entry) so I figured I’d start the show with a portion of the second disc. I guess I still had this album stuck in my head, go fig.
Damn. I wish this Ophibre “Shattered CD” album had a second track stuck in it somewhere– I like the back half quite a bit more than the beginning. Oh well, with only ten minutes until the top of the hour, I’m almost certainly not playing the whole disc anyway, right?Double damn. You know what? I really don’t like the beginning of that disc. I guess I was ambivalent about it before, but not now. With so much good music I brought with me, it would have been a shame to keep playing that– so I replaced it with “Distortion Field,” from the Ctephin/Mystified split “Rough Versus Smooth,” on Barfing Dagger. I like the audacity of this track; it’s haphazard percussiveness is both engaging and clever. It sounds like an epileptic doing skateboard tricks on a road made of puppy chow. Needless to say, the top of the hour is fucked.
I’m chatting with Vomit Toad in SLSK ‘noise’ room– and he brings up a good point– where are all the chatters? I posit that you are all in rapt attention, and for your sake, I hope I’m right.I decided to mix Mystified’s track with “New Possibilities for African Instruments 1,” a composition by Dimitri Voudouris on his latest Pogus Productions release. So far, it’s going well. Since Pogus Productions is such an amazing label, and since I haven’t played this Felix Werder disc, “The Tempest/Electronic Music,” to death yet; how about listening to “Oscussion” with me?
Now I’m on to Fe-Mail’s album “Blixter Toad,” on Asphodel. This album is a riot of sounds– tons of hairpin-turn digital editing, sounds like a Max/MSP fest, but fun. Maja Ratkje is always worth hearing anyways. How come I don’t have any more Ratkje with me??
How about some vinyl? I have a one-sided 12-inch by Monsturo, “F-44,” on Rasbliutto Recordings. I’m still a bit new to Rasbliutto, but I’ve been very fond of their releases so far. I want to encourage you to get over to the site and pick up some discs, but be sure to leave one of each for me, okay? I’ll probably post a review of this album on Monday, btw. Right now, I’m going to go batshit on my bag and see if there’s any more Maja inside. Hold on.
Hmm… it seems there is not. However, I have some Crank Sturgeon, and that’s got to count for something. I’ll put it on following the Monsturo album. I’m really enjoying how this one builds, but I think I should have been more judicious about its placement in the show. Not a good call for following Fe-Mail, my bad.
Crank Sturgeon is now causing great gnashing of teeth and general consternation of the airwaves. I’m pretty sure I got this off the Internet Archive some years back. Yep, I did.I decided to use the last half-hour to play a lot of short tracks— a lot of NoType, it looks like. Dig through their archives, and you could listen to these recordings again and again. Great label, check them out! The end of the show is approaching, and I need to get all these discs cleaned up, so this is probably all I’ll write for now. I hope you enjoyed the show, feel free to leave me a comment. –DaveX
Send five cereal boxtops, $3 in nickels, and a photograph of your backyard to DaveX to receive your free* copy of this week’s show. Or, be cheap and just download it here. Please don’t let your thrift extend too far, though– with the exception of Pierre Schaeffer, all the artists on this week’s show require food– please consider purchasing their albums from the linked sections of the playlist below!
Rabbit Girls — Section 8
Rabbit Girls — Snatcher
Rabbit Girls — War on Terra
Ophibre — Shattered CD (extract)
Mystified — Distortion Field
Dimitri Voudouris — NPFAI 1
Felix Werder — Oscussion
Fe-Mail — Belonging
Monsturo — F-44
Crank Sturgeon — Motion Pict Saur
Danger Woman — 1, 2, 3-4-5
Poormen — 1-2-3-4
Poormen — Hamburger
Melt Banana — Dust Head
Pierre Schaeffer — Bilude
Phonecia — Foci Duplication
Books on Tape — A Heir Son (Remix)
833-45 — Numerically Unstable (Remix)
A_Dontigny — Warm Gravel Metroid Soundtest
Click Tracy — Truth or Daring
“Audio Insurgency,” a Roil Noise Records release from Rabbit Girls, is noise the way I like it– unrelenting, too complex to completely grasp in any single listening session, brimming with unexpected detail, and probably the results of hours and hours of intense editing work.
Take my favorite track, “Snatcher,” for instance. Starting with a jet-engine blast of fluid screech, low rumble, and a high tone that borders on nauseous; careful listeners can appreciate all sorts of great detail– there’s a ‘gasping’ quality to the rush of sound in the background, almost like a series of processed screams. Or check the low whistling noise, or the siren tone. At times, I hear something like distorted guitar tremolo noises. Regardless, attempting to ‘grab’ it all just results in dropping something else from my attention. It’s that old story of the greedy dog, on a double minidisc set.
And here’s something I’m just going to throw out there– “Snatcher” reminds me a LOT of Jimi Hendrix’s “…and the Gods Made Love,” but done as a noise piece. How strange is that?
Let me quit fawning over this track. It’s not like it’s the only good one or anything! In fact, there is a remarkably high level of quality across both discs. “Musical Abatement” seems to mix more ‘live’ recordings with studio work, or at the very least, allows a sense of space that noise recordings often lack. And seriously, aren’t you jealous you didn’t think of that track title first? I know I am.
The strength of “Audio Insurgency” is in the artist’s ability to channel so many different sources towards a common goal. In a forum entry dated June 13, Rabbit Girls creator Noah confirms this ‘kitchen-sink’ approach to his work:
“…I’ll keep it brief: I use any tool I can get my hands on to make sound/noise/art/stuff. I am not picky… Anything less I find very limiting and unimaginative.”
The challenge for listeners is keeping up.
As I’ve mentioned, the recording quality of these two minidiscs is excellent. The minis come in a simple ziplock-style bag that seems to be the hallmark of many Roil Noise Records releases, along with full-color artwork.
Testing Ground is a Barcelona-based label casting a wide, but hearteningly selective, net over electronic music. Testing Ground is also notable for releasing the first copyleft CD in Europe, Pau Torres’ “Songs for Nula,” as part of their minidisc ‘B-side Project’.
Also part of Testing Ground’s ‘B-Side Project,’ is the self-titled minidisc from Climax Golden Twins. It features some lovely (albeit small, of course) cover art from Marefumi Komura. This is a really interesting disc, although not recommended for users checking out a new stereo– a long period of near-silence in the second track had me wondering if I’d broken something! Once I realized my error, I was happy to find this disc among those that put the minidisc format to good use– keeping a narrow focus, and exploring an idea in depth. “Climax Golden Twins” is also assisted by fantastic production values. The organic qualities of the acoustic guitar theme are not lost among the digital crystalline structure; nor are listeners left behind in the transition from contemplative reverie to harsh noise.
I was going to write a long, involved entry about why I haven’t posted any new reviews in such a long time, but let’s just say I’m sort of nuts and move on, eh? Take it from me; over-thinking sucks.
Anyhow, on with the review.
“Puzzle Pieces” (and especially the following Ophibre release, “Shattered CD”) are rather enigmatic. On one hand, the source material seems more or less familiar to noise-friendly ears– analog electronics, some mild feedback, static-soaked keys, grounding issues, and even a bit of abused accordion– but in another very real way, both release are terribly unfamiliar. Its as if the listener has stumbled upon an open window, and finds himself studying the occupants within… only they’re all wearing horse masks, and walking around backwards with the lights down low.
Recognizable activity, yes. Recognizable intent, no.
So while many artists have played with their own anonymity (Banksy, Boards of Canada, or Bob Dylan, for instance) it is somewhat more rare (and pleasingly uncomfortable for me!) to find an artist subverting the often-public realm of artistic intent. Where Banksy is obviously satirical, and BOC for the occasional chill room; determining much of anything about Ophibre (even the name, sheesh) is a futile exercise.
Unfortunately, with so little to work with, listeners may find themselves in a high-contrast, like-it-or-not situation. As for my two cents, I find “Puzzle Pieces” to be more enjoyable overall. It is a bit more musical, and has elements of old-school minimalism– so I’m referencing the looping and repetition, not the complexity of sound, which is actually quite dense in most parts.
“Shattered CD” is far too homogeneous through most of the first half to keep my attention, and when things do finally become more interesting, the artist begins a series of somewhat tedious bouts of silence, which really interrupts the overall experience.
At a price of under $4 each, I don’t want to argue with these too much– I do appreciate the recording quality, which is both clean and personal; and the unique nature of these albums, which certainly inspire me to much more consideration than many self-released noise discs.
Today was a very nice day for thrift-store shopping. I would say “great,” but it could only have been great if I’d had more extra cash– but alas, this was not so. Regardless, I managed to pick up what may be my coolest thrift-store find ever!
No, I didn’t take the picture, but yes… I’m now the proud owner of a shiny red “Phonette” hand-operated record player. It’s a very nifty device. The lid is hinged in such a way that it can function as a “tabletop” for the player when open, and protects the player when closed. The crank is able to be pushed in so that it becomes hidden in the side of the player, to protect it from damage during transit; a significant feature when you consider the ugly history behind these little wonders.
You guessed it– or you managed to read the words “Gospel Recordings” off the handle– these are the now-outdated tools of missionaries worldwide. It amazes me that nobody ever bothered to make something like this for people without electricity to just listen to music… but my hope is that a large number of them were “re-purposed” by native people globally for non-Jesus use.
Since I’m on the topic, dig some of the other neat-o devices the missionaries need to let me play with:
This is the “CardTalk,” a super-low-tech record player. You are supposed to use a small stick to push the record around in a circle. See the black dot off-center in the label area? That’s where the stick goes. I have to say, if someone showed up to tell me about god, I’d be fairly unimpressed about the “pushing a record with a stick” show.Equally unimpressive in the revival tent of my mind is the “Messenger II,” whose creators earn a few points in my “inadvertent irony” category for the use of Roman numerals:
Again, this is a fully human-powered device, which is pretty cool. One or ten of these would surely find a lovely home in my collection of things that make noise, so if you’re looking for the perfect gift to give me for all my hard blogging work… Oh? You say you’re hint-blind? Here’s a link to the order page. Feel free to surprise me in the quantity column.
My initial suspicions about “re-purposing” of these audio devices are probably right on the money. Witness (har har) the “MegaVoice Messenger,” a fixed-message digital audio player.
The key words here are “fixed” and “message,” meaning that the end-user can’t tamper with the evangelical nonsense, and insert his own name in place of Jesus. Sorry, “Bob Christ,” you’ll have to stick to iPods. Still, I have to totally drool over this device. It can hold up to 160 hours (goddamn!) of stereo listening with headphones (or use the internal speaker), although your 9-volt battery will wear out in about 10 hours… for this purpose, you can purchase a solar-power attachment. Sony, take note. These people are on to something.
Back to those pesky fixed messages, though. How do they get on the player in the first place? Enter… the “MegaVoice Scribe”:
The “Scribe” is basically DRM taking physical shape. Instead of allowing “tampering” of the amazing messages contained within the “Messenger,” the Scribe allows privileged operators to port audio from a computer to some sort of flash media setup, and then on to the Messenger. It is also able to run a smart-detect feature to determine the operator’s skin color, and will only turn on for whites. I believe a pith helmet is used as a dongle.
Just kidding! (But this may come up in future models, so watch the MegaVoice product page, eh?) Obviously, all this stuff is just begging for oddmusicians to put everything to better use. If you happen to come up with anything, feel free to leave a comment or two– and if you record it, I’d be extra happy to link to your mp3 file!
As a side note, check out how the charm of these players has totally been lost along the years. The record-on-a-stick thing is kinda ugly, but maybe a little fun. The Phonette is downright loveable, with its goofy, round tone arm and pleasing red paint job. The Messenger II is beginning to become ugly, but at least gets a few points for color-coding the buttons for illiterate folks. The you get to the MegaVoice line, which all look like ugly garage door openers with an iPod-wannabe complex. Yuck.
Feeling much better this week– I decided to kick off the show with a new disc, a CDR promo copy *sniff* of the new limited-edition 12″ vinyl by Motor Ghost, “A Gold Chain Round Her Breast,” on Dancing Wayang Records. I’d originally gotten in touch with Dancing Wayang on the merits of seeing Ben Reynolds name at the site– I really enjoyed his “Other Worlds Sermons” minidisc on First Person, you see– and I’m equally pleased with his work in Motor Ghost (a duo, with Alex Neilson on drums). Although the disc has a fairly “live” feel to it, my understanding is that the studio was actually put to some use– overdubs, etc– which I appreciate, as all too many current experimentally-minded musicians treading into free folk waters seem content with just using the recording studio as a large tape recorder.
Do I have to mention again how terrific Eddie the Rat’s “Once Around the Butterfly Bush” is? Even at 4:30 in the morning, it has the power to send an electric thump down my spine– it’s hard for me to believe that an album this visceral is also recorded this beautifully. Take that, “Raw Power” fans! It’s no surprise to me that the only thing I have that can follow it is another Edgetone Records release, “We Are Violent,” by Nihil Communication. Usually, I can get away with changing gears completely after a half-hour break, but I think Eddie the Rat’s power will hold through the minute of station announcements enough to exact a measure of control over the next set.
Does it make incredibly lame that I am bothered by my use of “is” to end the first sentence in the previous paragraph? How about my nagging suspicion that the Dancing Wayang folks should have allowed an apostrophe to accompany the titular “Round”? These are the questions that keep Discogs editors up at night, beware!
Nihil Communication almost took the show into noise territory, but stopped just in time for me to introduce you all to Ophibre, who seem to inhabit this strange land. In a similar fashion to artists like Seht and Mystified, Ophibre presents a close cousin of noise, but takes enough time with structure and detail to clue listeners in that its more of an influence and less of a destination. Of course, I’ve only heard a couple Ophibre releases so far (“Puzzle Pieces”, and ‘Shattered CD”– so leave a comment if you know about the others.
Damn. It’s barely 5 a.m. and the sun is already coming up, here to make Southern Illinois into a tropical-humidity nightmare yet again.
I’m now playing from “The Long Await Between Collapsed Lungs,” which is just a fantastic disc. It reminds me that I have a couple things to look up, or at the very least, have STARTLING MONIKER readers help me with:
1) What the heck is Ernesto Diaz-Infante doing now? I used to see a new disc of his every week or so. Is he hiding?
2) Lo-Bango was supposed to come out with some minidiscs, a whole series of very cool stuff. I need to get in touch and find out what’s up with these.
3) What’s the perfect recipe for grilled cheese?
Okay, so that was three things. Sue me.
You have to love the lead-in to the first track of Rabliutto Recordings’ “Trios 2004” disc with Jean Paul Jenkins, Joseph Fosert, K. Scott Handley, and Mark Kaylor. It’s just a bit of low hum, the crackle of a cable, silence, a small honk, more silence… a beep, and maybe some magnetic interference. I wonder how many people got all worried listening to this for the first time?
It’s been too long since I’ve had some Joan La Barbara material on the show. I was just listening to the Lovely Music release “Voice is the Original Instrument” the other day, and figured I’d bring it along tonight. “Cathing” is one of my favorite tracks. Check the vocal drone-work– incredible!
A full download of this show is now available, in a single-track, 64kbps mp3 format– basically, the same way you’d hear it in the webstream. I do not offer this recording as a replacement for purchasing albums from the artists and labels heard on the show, but merely as another chance for busy “ITDE” listeners to catch their favorite broadcast. If you require any assistance or information about a recording I have played, please let me know!
Motor Ghost — Gash Division
Motor Ghost — Tremble
Motor Ghost — My Dancing Day
Eddie the Rat — There’s No Such Place as Outer Space
Eddie the Rat — I Spy a Human Inside of You
Eddie the Rat — Chasing the Sun
Nihil Communication — Interpretation from Sandstone
Nihil Communication — We Are Violent
Ophibre — Puzzle Pieces pt.1
Ophibre — Puzzle Pieces pt. 2
Diaz-Infante, St. Chaos, Bohol — Still Endless & Drawn Out Toward You
Jean Paul Jenkins, Joseph Foster, K. Scott Handley, Mark Kaylor — ‘Past Midnight.
Never Knew Such Silence. The Earth Must Be Uninhabited.’
Joan La Barbara — Cathing
Joan La Barbara — Autumn Signal
Joan La Barbara — October Music: Star Showers and Extraterrestrials
Depending on how I feel, tonight’s show could go many different ways. I had to consider whether or not to actually come this week, as I hadn’t been feeling too well for the past few days. Still, I’m noticing that either the studio is really warm, or I’m having a bit of trouble with my own temp. Keep your fingers crossed.
Here’s some good news, though– that awful Sony disc player which gave me so much trouble last week seems to be gone, replaced by a wholly different Tascam. This one, a CD-01U, actually seems to be rather nice! Its as if Tascam read last week’s liveblog, and designed a player just for me. I’ll keep you posted on how it performs. For now, though, it’s handling the first disc of Eliane Radigue’s Lovely Records release “Jetsun Mila” very well. I’m curious how this material will be received by my listeners, though. It’s a fairly quiet work; it is also rather fragile. I especially fear the transition to the streaming portion of my broadcast will not result in an adequate experience of this work. (more…)