Sunday, March 26, 2017

dette var morgen
































A Sound Year reminding me inevitably of this radiophonic side-project

to bylo jutro


























Tuesday, March 21, 2017

m'oceanic (un)rock



Liquid Nights and Desert Sands









Wednesday, March 15, 2017

music-maker maker






on vinyl - https://www.superiorviaduct.com/collections/upcoming/products/joe-jones-in-performance-lp














4th world



release rationale

"Optimo Music presents "Miracle Steps (Music from the Fourth World 1983 - 2017)", a 2 x LP compilation of Fourth World music compiled by JD Twitch & Fergus Clark. Also available as a digital release.
This compilation had been on the label’s to do list for ages but it was only when Twitch and Glasgow’s Fergus Clark started crossing swords over what actually constituted Fourth World music that the project really got going. Twitch decided that co-compiling the release with someone who had a slightly different take on things might make for a more interesting finished release, and so it came to pass that a cohesively thrilling compilation quickly materialised as each of them drew from a wealth of different artists and eras.
For the uninitiated, here’s an extract from Fergus Clark’s sleeve notes honing in on how the term Fourth World (an idea conjured up by Jon Hassell in the early 80s) might be defined -
“What we have attempted to gather across this compilation is a body of work which we feel directly resonates with both the literal definition of ‘Fourth World’ music and indeed our own interpretation of this unique sonic vision; from the work of the late Jorge Reyes, a Mexican musician who combined pre-hispanic instruments with synthesisers and digital sampling, through to the work of organic ambient ensemble O Yuki Conjugate. There are tracks which utilise custom, home-made instruments and there are tracks built from scratch using the latest in digital technology, but the undercurrent tying each piece together is this deeply personal feeling of intrigue and mysterious elation. Strange and unparalleled, this feeling manages to eschew geographic borders and rigid genre movements in favour of something which manages to evoke an inner sanctum, a musical private place for both reflection and assessment. This is music grounded in nor the past nor the present, music which manages to sound futuristic yet remarkably nostalgic. “
JD Twitch is one half of Glasgow’s Optimo (Espacio) and runs the Optimo Music and Optimo Trax labels.
Fergus Clark is a writer, occasional DJ and avid music fan. He is a founding member of the music and art collective 12th Isle."

Monday, March 13, 2017

ancestral invocations




"Luis Pérez was born in Mexico City on July 11, 1951. Since 1971 he has dedicated much of his time to the research of pre-Columbian musical instruments. He has traveled over the years all over the countryside of Mexico in order to study the living musical traditions and learn directly from the living sources while collecting samples of musical instruments, music and songs. His collection of native Mexican instruments include archaeological artifacts representative of the different cultural groups in the area known as Mesoamerica, some dating more than 2000 years ago.

"His early work while still in Mexico, was a mixture of sounds from his vast array of pre-Columbian and ethnographic wind and percussion instruments which he managed to blend with electronic devices such as; tape based delay units and analog synthezisers; in 1981 his work was heard and described in the U.S. by Archie Patterson as, "perhaps the ultimate fusion of ethnic and modern music, a stunning effect as the two different styles merge superbly into a mystical musical tapestry". Luis simply called it: Musica Experimental Mexicana. During that year the Mexican government became interested in his work and sponsored the production of what came to be the first recording of this type entitled: Ipan In Xiktli Metztli ( En el Ombligo de la Luna ) which made a big impact among the media and established Luis Pérez as a precursor in this field followed by a new generation of Mexican musicians" -  Sacred Summits



Saturday, March 11, 2017

Electronic Music From York / ICES '72



strangely unCreeled as yet...  a holy grail for electronic / tape collectors, this 1973 triple LP box of pieces made at the University of York Electronic Music Studio ..  so I had a bash at virtually reconstructing it in its entirey, using the riches of the internet - and didn't get very far



A1Andrew BentleyMoan

No luck
A2Martin GellhornCompression ICES '72


No luck
B1John CardaleDionysus


No luck 
B2Richard Orton (2)

No Luck
Kiss
C1Richard Orton (2)For The Time Being

No luck
C2Richard Orton (2)Clock Farm

No luck


however I do have a copy of this


 
D1Martin Wesley-SmithMedia Music

No luck, but did find this other work of his


D2Richard PickettLight Black

No luck at all
ETrevor WishartMachine Part 1

F1Trevor WishartMachine Part 2
F2Trevor WishartMachine Part 3


the whole of Machine at the Other Minds archive








so that is in fact - Wishart aside - a complete bust


if you've got one, do us a burn will ya?


HOWEVER bits and bobs from Electronic Music from York are said to be part of

this long mix (int two parts) called Epsilonia Mix: Trevor Wishart and Friends
It's an excellent listen (includes things from Trev's Journey Into SpaceRed Bird
Mouth MusicSing CircleBeach Singularity, etc + stuff from another incredibly
 rare release from York Electronic Studios, the more song-oriented 
All Day - York Pop Music Project.

 But be warned: nothing is identified or in discernible sequence so who knows
 how much or which components of the elusive triple LP are in here.


in my search for properly tagged and identified Electronic Music From York tuneage

 i did find a few other  Wishart odds 'n' sods that i'm not sure
 i've got (i have nearly everything that's available on compact disc and a few files besides)








oh and here is an extensive obituary of Richard Orton


Andrew Bentley, Martin Gelhorn, John Cardale, Richard Pickett and Martin Wesley-Smith are, however, so obscure that they don't even have entries in Ian Helliwell's Tape Leaders book  
(Wishart and Orton do)






Wesley-Smith seems to have left the most traceable spoor of compositions behind him






Martin Gellhorn's piece "Compression ICES '72" is partly named after this event - International Carnival of Experimental Sound aka "ICES 72", an avant-garde music festival held at the Roundhouse, Chalk Farm, London, England, 13-26 August 1972,




poster design is by Gee Vaucher - later of Crass!




Oh, for a time machine!


The festival is discussed here at Other Minds

"Charles Amirkhanian talks to Harvey Matusow about the International Carnival of Experimental Sounds (ICES ‘72), an avant-garde music festival, based on the theme of myth, magic, madness and mysticism, that was held in August 1972 in London. Featuring 46 concerts in 14 days, including marathon performances in an refurbished railroad roundhouse, a music train to Edinburgh, films, happenings, and performances by avant-garde artists, dancers, and musicians from around the world, ICES ‘72 could be considered as a spiritual progenitor of such extravagances as Burning Man. That it was the brain child of Matusow, (with help from John LIfton and the editors of “Source Magazine”), is of little surprise as the man was part clown, part con man, and full time promoter of all things weird and wonderful. Once known as the “most hated man in America” for his role in informing, or misinforming, on Communists, including Pete Seeger, during the McCarthy Era, Matusow was a consummate show man and artistic visionary. In this interview he describes the Carnival, and introduces a number of recordings from it, including two works featuring the electronic music of Takehisa Kosugi as well as a sort of classical muddley by the Portsmouth Sinfonia. The Sinfonia was formed by group of students at Portsmouth School of Art in Portsmouth, England, however, unlike most student orchestras this one required that all the participants either be untrained or at least playing an instrument with which they were unfamiliar, all with very predictable results. A further description of ICES ‘72 and a recording of many of the pieces performed at the Festival can be found at http://www.pogus.com/ICES01.html."


a thorough account of the event and its participant performers by Dave Thompson


1972 Rolling Stone piece on Harvey Matusow, ICES organiser - and former McCarthy-ite!

Ices ‘72 (aka International Carnival of Experimental Sound) (1972) by Anonymous








Thursday, March 9, 2017

beak music




























courtesy of Oskar Sala






bonus tweets

[birds at about 3.20 minutes in]




bonus screech


Wednesday, March 8, 2017

twinkle crinkle tingle shingling










feel like these are source records for everything from The Focus Group to 4 Hero






All three volumes of De Wolfe Music's The World of Percussion and Tuned Percussion (Eric Allen & Frank Reidy) can be heard here in full

1

http://www.dewolfemusic.com/search.p...82&code=NSchuy

2

http://www.dewolfemusic.com/search.p...97&code=GC947m

3

http://www.dewolfemusic.com/search.p...j3I&id=7892205



Allen & Reidy also responsible for these dark glinting beauties, beloved of the haunty crew















Saturday, March 4, 2017

Civic Magicians and Engineers of the Imagination






"Lol Coxhill was the musical director for this travelling troupe from 1973 to 1975. This is functional music, adapted to the multi-dimensional performances of Welfare State, Welfare State was a nomadic consortium of artists, makers, musicians and performers. As said by John Fox in the liner notes, the WS envisaged themselves as Civic Magicians and Engineers of the Imagination, devising rituals and constructing images for particular times, places and seasons. They travelled throughout Europe with a mobile village of lorries and caravans, creating and animating outdoor events with sculptures, theatre pieces, celebrations, dances and processions. Consisting of 16 adults and 7 children, WS would stop for shorter or longer residences, whenever the opportunity arose to "make poetry concrete". The record captures the functionality and the ceremoniality of the music, though listening to it one inevitably misses the other sensory elements needed to make it a full spectacular experience, but one might conjure up suitable visual images from the sounds captured on this album, not the.least the front cover pic which reminds me of the cult film "The Wicker Man".  Obvious referneces here to medieval ceremonies and rituals and old-age mythology. It might bear some resemblances to what in the UK has become known as the Travellers movement, dating back to the festivals of the 70s and ideas of alternative life styles, ironically at a certain distance from the welfare state, one might think."  - Inconstant Sol