sábado, 15 de noviembre de 2014

ASMUS TIETCHENS - RAUM 318 (E'OSTRATE E'O3, CASSETTE C-40, 1991) (MP3 320)



A Asmus Tietchens lo suelo compartir en mi blog paralelo "Electronic Orgy" por su condición de pionero del medio musical electrónico. Pero en esta ocasión me permito compartirlo en Wet Dreams por tratarse de una cinta de música electrónica industrial en el sentido más absoluto del término.
Esta cassette fue editada por el sello francés E'Ostrate en 1991 en una seire super-limitada a 183 ejemplares y recoge dos piezas de auténtico ambiente industrial, sonido electrónico oscuro y sintetizadores como sólo los sabe tratar el maestro Tietchens.

Disfrutad...



Tracklist:

A Raum 813 17:22
B Raum 138 16:49



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viernes, 14 de noviembre de 2014

VOX POPULI! - THE TEEN RECORDINGS (Unreleased recordings, France, 1979-1981)



Os presento las primeras grabaciones que Axel Kyrou realizó antes de darse a conocer como Vox Populi!

Os transcribo unas declaraciones suyas en las que podemos hacernos una idea del interesante árbol genealógico de este hombre.


"The teenager recordings were recorded between 1979 and 1981. This is the first and yet unreleased recordings Vox Populi! As the title suggests, I did in my teens (I'm from 1964), with the help of my brother Ariel's voice, jaw harp and percussion. I play synthesizer, radio waves, video tapes, bass, guitar, jaw harp and vocals. I must say we had a very encouraging family atmosphere. Our father was a great fan Ado all kinds of unusual and extreme music forms. I remember well my father PA is off by one of the Whitehouse recordings first! he was director of TV / film and writer. my mother Mireille is a musician and worked under the direction of Pierre Schaeffer for a few years in the institution that became IRCAM shortly after. of course, they were on our side and they did help in many ways. a big thank you is owed to them.
Hope you like these fools DIY recordings made on a shoestring.
Desirous of music lovers all the best,
Axel, Vox Populi! "



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jueves, 13 de noviembre de 2014

Oscar Abril Ascaso + Sedcontra ‎- +/001 1990 (not on label, cass, 1990) (MP3 320)



While exploring Spanish cassette experimental scene few months ago, I've discovered the cassette of, for me by then, completely unknown artists Oscar Abril Ascaso and Sedcontra. Without any further thinking, I have decided to get in contact with Oscar Abril Ascaso who didn't manage to get a copy but he delightfully forwarded me to Anki Toner, saying he was behind it's production... I received the tape from Anki yesterday.
The tape comes with the artwork, which is a photograph pasted onto cardboard and glued forming a kind of box. The problem is that the picture, which was captured by Christian Ribas, can't be easily accurately and completely displayed by scanning without splitting it apart, so the scans do not reflect appropriately the artwork. Included with the tape is inlay card which is also scanned.


The opinions are ambivalent considering the audio on A and B side which are interpreted on Discogs as containing the identical material on both (that assertion is denied), although on Anki's copy of the cassette really exist two recordings. Anki believes that the longer side (A) is the authentic one, while Sedcontra prefers the shorther (B) side. Despite the mystery under which this issue is, I decided to preserve both sides.
The cassette was released in the same year of Oscar Abril Ascaso and Sedcontra assembling, 1990 as limited edition of 50 copies that were sold out in the blink of an eye.


From then, Oscar Abril Ascaso + Sedcontra will refrain from releasing their sound works, apart from their very occasional involvement in a few compilations, concentrating exclusively on their radio programmes and live concerts.
In 1991, they perform their first concert in a neodadaist festival, and are forced to leave the stage by the organisers of the event. Rarely performing in public, during the next five years they will perform only about ten more concerts.
In the first half of the nineties, the Oscar Abril Ascaso + Sedcontra concerts will be characterised by the use of microphone feedback, shouts, noise, industrial sounds, a variety of material from record albums, and by their loopism (notably, they are considered the inventors of the clot system, which consists of applying an adhesive tape ball onto the vinyl surface of a record in order to stop the advance of the turntables needle at a random point). At the same time, they will do their own radio programme for six years, also called Oscar Abril Ascaso + Sedcontra, in the independent radio station Radio Pica of Barcelona, where they will broadcast their studio productions.
In 1996, Oscar Abril Ascaso + Sedcontra split up, and three years later start working together again. During 1999, they prepare their new sound formulations, and in 2000 they return to the stage with a concert at the Experimentaclub'00 music festival, organised in Madrid by the record label Por Caridad Producciones.
At this new point in time, Oscar Abril Ascaso + Sedcontra will start working with the possibilities offered by computer audio software, continuing a personal sound experience begun ten years before.
At present, their work is focused on establishing an on-line programme through their own website.
(Since then it's been obviously removed!)


SEDCONTRA. ¿Por qué hablar sobre la primera etapa de Oscar Abril Ascaso + Sedcontra ahora? En primer lugar, porque sí. En segundo lugar, porque su irreverente paso por la escena musical más experimental de Barcelona en los primeros noventa corre el riesgo de ser definitivamente borrado. Puesto que nadie se acuerda de su primera trayectoria sino ellos mismos, este ejercicio de memoria histórica musical no podía ser llevado a cabo más que por ellos mismos. ¿Ejercicio tendencioso y egotista? Por supuesto, fieles a aquella línea de autorreferencialidad absurda que siempre les caracterizó. En tercer lugar, porque, rompiendo por fin ese tupido velo que se corrió sobre ellos, el sello Anòmia tiene previsto editar una doble casete con material de la banda, la mayor parte inédito.

La complicidad en el ruido.
Oscar Abril Ascaso + Sedcontra fueron unos industriales tardíos, pero unos tardíos paradójicamente precursores, unos rezagados adelantados, pues en nuestro país, como es sabido, todo llega con retraso. En efecto, en el año 1990 en que empezaron, la música industrial llevaba ya más de una década existiendo. Pero a Barcelona apenas había llegado, al menos no en sentido estricto, o lo había hecho de manera muy undergroundy casi anecdótica. Nadie se había dado por enterado, y a juzgar por el modo en que Oscar Abril Ascaso + Sedcontra fueron ignorados, nadie seguiría dándose por enterado durante casi una década más. Industriales “en sentido estricto”, esto es, de espíritu, de actitud y de sonido, quizá todavía no los había habido en la Ciudad Condal (¿La Fura dels Baus, al principio?). En cualquier caso, fueron pioneros a la hora de movilizar toda una parafernalia y modus operandi genuinamente industriales: bidones y planchas de metal recogidos en chatarrerías de extrarradio, loops realizados con cintas de casete, vinilismo, acoples de micro, ruidismo analógico, gritos en lenguaje ininteligible a través de megáfonos, descarado apropiacionismo sonoro de fragmentos de canciones, rabia y violencia escénicas… Su nihilismo tenía  un componente innegable de intelectualidad conceptual. Con razón, se definían a sí mismos, no sin humor, como “el objeto sin concepto”. Y es que Oscar Abril Ascaso + Sedcontra eran más que un grupo de música, antes que nada eran una entidad no categorizable, más aún, una pulsión, destructora y deconstructora, sin objeto. Todo lo que cayera en sus manos, y en primer lugar ellos mismos, estaba destinado a sufrir una malévola reductio ad absurdum. La música era un medio, no un fin. Eso sí, su medio por excelencia, como buenos melómanos que eran. Cuando se conocieron en el año 90, Oscar Abril Ascaso venía del pop y del postpunk, pero había empezado a desarrollar un creciente interés por el ruido; mientras que Sedcontra, obsesivo oyente de la música industrial de los primeros ochentas, llevaba años experimentando con cintas de casete, grabando ruidos y sometiéndolos a todo tipo de manipulaciones. “¿Te gusta el ruido?”, fue la primera pregunta musical que le espetó Oscar Abril Ascaso a Sedcontra en la habitación de hospital en que se conocieron – encontrándose el primero convaleciente de una úlcera infligida por la vida misma –. Esa pregunta tan simple y directa, que hoy en día podría parecer hasta ingenua, revestía entonces un carácter tremendamente subversivo y estaba impregnada de inusitada novedad. La respuesta afirmativa de Sedcontra, su rotundo y lacónico “sí”, no podía significar más que una rara y extraordinaria complicidad en el ruido y el inicio de una colaboración cuya radicalidad se les escapaba a los propios interesados. No en vano, uno de los posibles nombres de banda que barajaron fue el de Cabrons de la Música, antes de dar felizmente con el idiosincrático e ineludible Oscar Abril Ascaso + Sedcontra. ¿Qué otro nombre era posible determinar para dos singularidades resueltas y decididas a hacer tabla rasa de todas las convenciones musicales, en favor del interés común que compartían: el ruido, sino aquél con el que cada uno por separado se daba a conocer a sí mismo ya antes de conocerse, sólo que articulados ambos mediante el signo aritmético +? Fue uno de esos casos en que el nombre le escoge a uno, y no uno al nombre. Superstición o no, se diría que un proyecto está destinado a funcionar o a fracasar según que su nombre surja con esa facilidad y pertinencia, o que por el contrario, sea el resultado de mil indecisiones y debates. Desde el primer momento les unió una pulsión de no respetar nada, de prescindir de los códigos habituales musicales y escénicos, y un desprecio absoluto por la audiencia y el oyente. El ruido como absoluto musical que imponer autoritaria y catárticamente al oyente.

 Una cinta de casete.
Desconsiderados también para consigo mismos, nunca se preocuparon de labrarse su propia historia a través de los canales habituales de los que se sirve toda banda: la grabación y edición de la propia música y las actuaciones en vivo. En los cinco años que duró esa primera etapa, editaron una sola casete y dieron unos pocos conciertos, exactamente nueve – es decir, haciendo una media, a casi dos conciertos por año –. La cinta – cómo no, titulada homónimamente Oscar Abril Ascaso + Sedcontra – fue autoeditada en 1990 con una tirada limitada de 50 copias, y fue producida por Anki Toner, vocalista de Superelvis, en unos estudios de grabación del barrio de Gracia. (La referencia de catálogo + 001, con tres dígitos de margen para una posible ampliación de su discografía, auguraba futuras ediciones, pero casi inmediatamente después, en un gesto radical sin precedentes, la banda desestimó editar nada más: nunca siguió una referencia + 002). Siguiendo la tradición de envoltorios con materiales de desecho que algunas bandas de música industrial realizaran en los ochenta (léase Zoviet France, De Fabriek…), la cinta en cuestión venía presentada en un artesanal packaging de cartón gris al que se le había pegado una fotografía en blanco y negro, obra de Christian Ribas. En ella se veía de cintura para abajo un cuerpo femenino desnudo a través de un pequeño ventanal de un oscuro y claustrofóbico sótano. El contenido sonoro consistía en una serie de loops estratificados progresivamente unos sobre otros: primero, durante más de diez minutos, unos repetitivos chirridos de bisagras de puerta taladran al oyente, sin tratamiento alguno, en una rara alianza de musique concrète y loopismo, después se les superponen sucesivas capas de loops de piano, mortecinos y luctuosos (de hecho, están sampleados de la Marcha fúnebre de Chopin). Se trata a la vez de una pieza-experiencia y de una pieza-concepto que juega con los efectos sobre el oyente de la iteración invariable del sonido. El transcurso de la pieza fue perfectamente planificado y dispuesto para producir por acumulación una determinada impresión sonora y hasta un determinado estado de ánimo. La escucha de sus interminables bucles parece remitir a una especie de estado mental de angustiosa y a la vez melancólica ausencia de salida, como haciéndose eco de aquella frase de Levinas: “el afuera no es posible, no el afuera, sino su idea”, y al mismo tiempo como si de una traducción musical de la mencionada fotografía se tratara. No es necesario decir que esta cinta tuvo una nula recepción...

Well, that's a quite a lot of Spanish text for me to translate properly at this point. At least I did read it due my own interest. :-) And for further text you can visit La verdadera historia de Oscar Abril Ascaso + Sedcontra (1990-1996), the article written by sedcontra


Sources:

Links:

lunes, 10 de noviembre de 2014

Een Uur Voor f 5,50 - Met De Bus Naar De Sneeuw (Wegwerptapes - wwt 002, 1985)



Things can hardly be more obscure, I guess, than this one. The 'band' is called 'Een Uur Voor f 5,50', meaning 'one for for 5,50 guilders' and the title 'Met De Bus Naar De Sneeuw', is 'with the bus to the snow'. It is recorded by a guy from Groningen, Loepie and released by Wegwerp Tapes, the label of The Lost Attic. And that's all I know. - 433 RPM 

Various - The Van Gogh's Favourites (Recycling tapes - RT002, cass, 1990)



Antonio Murga had the show named "La oreja de Van Gogh" (The Ear of Van Gogh) at Radio Aljarafe (Tomares, Sevilla) when he compiled "The Van Gogh Favourites"; previously shared by Autdolor here.

Blackhouse 7" Kickstarter



Hello everyone. Luca (And Then She Lied Again) and artist Blackhouse have started a kick starter campaign to launch the new label ATSLA, and to fund and create an unreleased 7" of Blackhouse material. Any help would be appreciated, even spreading the word helps.  




sábado, 8 de noviembre de 2014

Pedro Elías Mamou - Deriva nº 3: Amsterdam (Radio Nacional de España, cass, ?)


Pedro Elías define sus particulares paisajes sonoros con el nombre deriva. Las derivadas son trabajos que nacen con los sonidos de la cuidad y que después le son devueltos de nuevo, presentandose a la propia ciudad en una calle o en una plaza. El termino deriva esta directamente relacionado con el concpeto situacionista de deriva. En palabras de Pedro Elías "ninguna musica existe en la ciudad, ninguna, solvo la musica decidida por la deriva. La escucha de la ciudad no consiste en la repeticion de sus ruidos fijados invariablemente, al contratio se proyecta en sonidos posibles. La deriva suena con los sonidos de la ciudad, no los escucha solamente con el (con) texto, sino que inventa otras posibilidades de escucha tridimensional, abierta indefinidamente  a la pluralidad de los sentidos.
-fragmento de un libro "Las imágenes del sonido: una lectura plurisensorial en el arte del siglo XX"
por Javier Ariza Pomareta

Pedro Elías defines his particular soundscapes with the term "drift" . These "drifts" are works that are born together with the sounds of the city and are returned him back, appearing in the city itself, in a street or a square. The term "drift" is directly related to the situationist "drift" concept. In the words of Pedro Elías "no music exists by itself in the city , none but the music defined by the "drift" . Listening to the city does not consist in the repetition of the sounds invariably fixed, on the contrary, this listening projects into possible sounds . The drift sounds with the city sounds, it doesn't only listen them together with the (con-) text, but creates other possibilities of tridimensional listening, being such open indefinitely to the plurality of the senses.

-excerpt from the book "Sound Images: A multisensory reading on 20th-century art
by Javier Ariza Pomareta


Situationists: Michèle Bernstein, Asger Jorn, Colette Caillard, and Guy Debord

The material on this cassette is from Spanish radio program on RNE. 
Courtesy of Gran Viernes and Francisco López.

viernes, 7 de noviembre de 2014

Various - Transcription Vol. 2 (BN.exp. Krakow ‎- 07, cass, comp, lim. edition, 1989)



Transcription Vol. 2 compilation, catalogued 07 and compiled 06.11.1989 by Rafael on Polish label BN.exp. Krakowran by twins Rafael and Damian Kozub from Krakow. Their releases were mostly limited as they created the label to publish their own creations. 

Damian Kozub & Rafael Kozub, Cracow (Poland) duo’s activity dates back to late 70’s. The twin brothers, multi–instrumentalists–Rafael and Damian, started playing when they were kids in a band Pantograf that was a part of municipal transport corporation. The brothers created their own band a bit later with their then bassist (later the lead singer and the guitarist of the Cracow blues formation KGB) Paweł Małysiak "Pawka".

Their activity of that time as well as studio recordings were still little bashful. Between 1982 and 1988 they recorded their music on tapes at a home studio and distributed them in Poland and abroad in samizdat by three publishing houses: B.N.exp, ARS2, AML. 

http://www.kozub.de/
Damian Kozub
 (click)

Rafael Kozub (click)
In 1986 Damian and Rafael started another group Fragmenty R–27 (later called simply R–27) Encouraged by another band’s success (ZAOS) R–27 they continued their artistic performance for the next four years. The line–up changed over the years: Andrzej Jarzyna was the first drummer, Piotr Nodzeń was the second bassist and Darek Kaszubski played bongos, still the core members stayed invariable: Rafael Kozub (keyboard and percussion, vocals and composer), Damian Kozub (percussion, vocals, piano and composing), Rafał Walczowski "Walek" (bassist), Piotr Łabuzek "Buzer" (trumpet, vocals and synthesizer) and Paweł Ochel "Rudy" (guitar and vocals). 
Apart from tape recordings the brothers published numerous brochures, papers such as: Alter – edited with Robert Kramaric and features – later used by Henryk Palczewski in his guide ARS2. In 1988 the brothers started publishing cooperation with Mariusz Błachowicz and in the middle of 1989 met musicians: Ireneusz Socha, Arkadiusz Franczyk and Andrzej Kramarz (Kirkut–Koncept and Na Przykład) with whom they recorded "Sen Wczorajszy" in October 1989. 

The brothers gave a lot of concerts with this controversial band in their home town Cracow (at a club and Podwawelski Cinema, twice at Nowohuckie Culture Centre (NCK), at Wola Zoo Club and Białoprądnicki Manor House, etc.) They also took part in a few big events such as: in Skawina – "O.D.K" club , in Katowice – "Akant" student club, at a "Festiwal Muzyki Odjazdowej", "O To Chodzi" club in Rzeszów, in Warsaw – "Remont" club and at "Marchewka" Festival in "Riviera" club – together with the composer Zbigniew Lampart – the then manager of Ludwik Solski Theatre in Tarnów. The mistrust towards those vigorous performances, however very remote from post–punk culture, that the band would give, made R–27 abandon further tours and giving accidental gigs. 

On emigration the brothers pursued solo careers. Having settled down in Rhineland – Westphalia (Germany) they carried out their musical projects till late 90’s – especially Damian who recorded even till 2007. The projects have been published on tapes and CD’s. His later attempt to start a band with Peter Sohn from Wuppertal wasn’t successful.

Great and recommended compilation! 


TRACKLIST:
A1 Opera Nova - Niepokoje I
A2 Opera Nova - Niepokoje II
Recorded in Warszawa 1988
Konrad Kucz - synth. juno 2, jx bp, sh-101, sequenc. msq-100 
Grzegorz Leczkowski - guitar 
Adam Radecki (ex Düsseldorf) - moog 

A3 + A4 Wahehe - Trucizna I Perfumy - Part 1 + Part 2 
Recorded at the Club Rudy Kot in Gdansk 12.1987
Marek Seremak - vocals
Rafał Giec aka Franc - bass
Albrecht - guitar, tape

B1 R-27 - U.B.I.C. (The Official Block...)
B2 R-27 - Bez Tyt.
Recorded in Krakow NCK Nowa Huta at the Fakt-Rock Festival 04.1988
Rafael Kozub - Concept, Production, Synth, Vocals 
Piotr Łabuzek aka Buzer - trumpet, harmonica, vocals
Pawel Ochelaka Rudy - guitar, vocals
Rafal Walczowski aka Walek - bass
Damian Kozub - drums

B3 Red Shoes - I
B4 - Red Shoes - II
B5 Red Shoes - III
Homerecording by Piotr Łabuzek, Krakow 1989
Piotr Łabuzek aka Buzer - synth, tape

THE DADAROTATOR - WHAT IS A DADAROTATOR (Produktion ‎– Pro3, Cassette C-60. 1983) (MP3 320)



The Dadarotator es el proyecto sonoro del británico Paul Hurst y del que (al menos yo) sólo se le conoce esta excelente cassette de noise electrónico, todo un torrente de energía concentrado en dos temas de media hora, a cual más intenso. Sonidos industriales, mezclados con ruidos radiofónicos, voces que aparecen y desaparecen en fracciones de segundo, ambientes oscuros, atmósferas densas, texturas sonoras... Personalmente, un placer para mis oídos que me tiene enganchado desde que ayer me lo mandara un seguidor anónimo de éste, vuestro blog.

Disfrutad...



Tracklist:

A Dadarotator 30:00
B Antibourgeois 30:00


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jueves, 6 de noviembre de 2014

S.P.K. - LIVE AT GARIBALDI'S, 21-04-1979 (CASSETTE C-15)



Éste es uno de mis grupos favoritos de la escena industrial. S.P.K. representaron la puesta en marcha de la maquinaria electrónica más impresionante de la historia del sonido industrial de finales de los 70 y principios de los 80. 

Lo que contiene esta cassette es la actuación-debut de S.P.K. como teloneros de los punks Voigt / 465 el 21de abril de 1979 en la sala Garibaldi en Sydney, Australia.. Para la ocasión, crearon un ambiente único con sus sintetizadores, módulos de efectos y percusiones metálicas que dejó perplejos a los asistentes. Un debut que significaría el inicio de uno de los mayores fenómenos de la música electrónica industrial y experimental de los años 80, aunque duraría poco, porque a mediados de esa década, los S.P.K. se vendieron al sonido Tecno-EBM comercial y perdieron toda la gracia. Una lástima.

Disfrutad...


Tracklist:

A1 Slogan 3:48
A2 Panik 2:08
B1 Mekano 2:24
B2 Kontakt 5:48



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lunes, 3 de noviembre de 2014

Ustad - Last Pyramid (J.S. Laboratories, C-60, 1988)



 Ustad (Ustad Oni). The project is from Houston, Texas, US and the sound consists an 70s krautish, dark, ambient experience. The name Ustad most likely comes from Persian word Ustād which means master or teacher, an honorific title for a man in South Asia that is usually used for well-regarded teachers and artists, most often musicians.
Ustad Oni also appears as member of Surgical II's, Stick In The Mud, Blistering Moments
 along with Jim Leggett, alias Jesus Penis... 
Ustad's itself k7 releases and compilation tracks are on already mentioned J.S. Laboratories, Sound Of Pig (Al Margolis, US), Nihilistic Recordings (Peter Zincken, NE), Stinky Horse Fuck (Smell & Quim, UK), Deadline Recordings (Richard Ramirez, US), Bureaucracy Of Hope (US), Swing Music (UK) and Hajra (UK).




J.S. Laboratories - Experimental cassette label run by LD Gregory, based in Houston, Texas, and operating from 1986, now defunct. The label is actually named Jittery Sphincter Laboratory, but usually the short version of the name appears on the releases.

ELECTRIC FISH - Electric Field (2007, Slušaj najglasnije!)

Six instrumental electronic compositions in 45 minutes is the work by Matjaž Rebevšek from Celje. He has been active back in the mid '80s creating electronic music, and had among other things, performed a concert in Italian stadium in Udine. This album is of an ambient-experimental nature where Electric Fish, using  only synth (no punches drum machines), makes really very good and interesting music, which has very minimalist attitude melodies approximately consistent with the system of modern electronic music. He is not comming into techno areas, but in some compositions is very close to it's border; trance and progressive sense that comes down to the structure and use of tones and sounds. The technique that represents a kind of minimalism that is different from pioneers like Philip Glass, but some details could surely fit into it (as in oeuvre by Vangelis, Jean Michel Jarre and Kitar). The compositions are rich arrangements, very well designed and it is obvious that the electric fish very successfully corresponded with demanding treatment and twelve-tone polyphony in which by the extraordinary nature, composition often enters the psychedelic sphere with distant and barely audible sounds that are deeply suppressed at the very margins of what music brings a very distinctive charm. The only criticism of the rough and abruptly cut off the endings of some compositions that may be circumstantial badly burned on a CD. I do not believe that such a musician allowed himself this amateur cardinal error. With the exception of a few such 'turning off the electricity, "this is a masterpiece of composition in the form of a dreamy electronic album.


TRACKLIST:
 1.Manifest
 2.BIOS
3.September
 4.But I never know
 5.Lok
 6.X32

viernes, 31 de octubre de 2014

Herd Of The Ether Space - Halloween Masks Look Almost Real! (Taped Rugs Productions ‎- TR #31, C-90, 1990)


HAPPY HALLOWEEN EVERYONE! 
I have a special trick and treat for you today!


During the 1980’s, Herd Of The Ether Space produced spooky improvised recordings on the Halloweens of 1987, 1988, and 1989. Released by Taped Rugs Productions in 1990, the cassette album: “Halloween Masks Look Almost Real!” blends together recordings from October 31st, 1987, and October 31st, 1989, into a scary presentation that can liven up any All Hallows Eve gathering. 

The first two pieces from the cassette: “Lacing The Candy” and “Witches To Char” are mixes of recordings from the 1989 session, featuring Charles Rice Goff III and Robert Silverman. The session was held at the home of Silverman’s girl friend, Debra Burger, in Berkeley, California, in a room where the walls were cracked and crumbled from the Loma Prieta earthquake, which had taken place less than two weeks previous (on Goff’s birthday). Trick or Treaters who came to Debra’s house that night were tricked and treated with some genuinely frightening noises. The recordings from that night were made on a stereo cassette deck; no tape loop system was used.


To create the other two pieces on the cassette: “Giant Bat Flies” and “Tongue Of Lizard Certain Death,” Goff mixed recordings from the 1989 session with recordings from the 1987 session. The Herd’s line-up for Halloween, 1987, consisted of Goff, Silverman, and Killr “Mark” Kaswan. This improvised sonic adventure into the underworld was made with the Taped Rugs Frippertronic-style tape loop system at the Taped Rugs Studio on Telegraph Avenue in Oakland, California. 


The full archive from the cassette, presented here, kicks off with Debra greeting some costumed innocents at her front door, then features the Herd playing a wide variety of instruments and inputting sounds from all sorts of Halloween tapes and records, evangelical recordings, scream generators, etc. 


Copyright 1987, 1989, 1990




jueves, 30 de octubre de 2014

Building Balanced Children - Building Balanced Children (Key Records, cass, smplr, 1986)

Sucking Chest Wound was the collective of Canadian musicians, artists and performers active from 1983 and split up in 1997. They also performed under various names for example as Sweet Children Of The West because the Sucking Chest Wound name was under veto for performing.
In January 1986 PnrH and dWM of SCW began a weekly radio show on CKLN-FM (88.1 MHz), a Toronto community station. The show was called Building Balanced Children and the premise of the show was to perform a live improvised mixdown using 100% sampled material. They used turntables, tape loops, digital delays and the first affordable digital sampler – the Ensoniq Mirage.
dWM and PnrH in their stage attire
They performed the Building Balanced Children show under the name Security Operations Consultants, which they would also use for a live performance in the fall of 1986.
The  Building Balanced Children show lasted until April 1986, and during its run  produced some of the most extreme music being broadcast on the Toronto air waves at the time. 
Excerpt from this recording is included in compilation named A Very Large Arrey released in 1987 on Sound Of Pig. 

miércoles, 29 de octubre de 2014

Rod Summers - The Sound Of An Unsound Mind (Vec Audio, cass, 198?)


Narrative, sound poetry cassette by Rod Summers previously shared on No Longer Forgotten Music.

Rod Summers (born 1943), born in DorsetEngland, is a sound, visual, conceptual artistperformance poetdramatistmail artist and book artist, publisher, archivist, and lecturer on intermedia. He is based in Maastricht, Netherlands.
The results of Summers' multiple, art-related activities have often appeared as part of his concept of VEC (Visual, Experimental, Concrete), which he originated in 1973. In 1999CNN International featured Summers in its Art Club show as a representative of avant-garde art in the Netherlands. In addition, over the last 20 years, Summers has performed his work at various festivals in Europe and Iceland, including the Reykjavik Art Festival (1991), the Polypoetry Festival of Sound Poetry (Bologna, 1993), and the International Sound Poetry Festival (Bologna, 1997), among others.
Summers features among the "second wave" of intermedia artists, the first wave including Dick HigginsVito AcconciJohn CageAllan KaprowJoseph Beuys, and the Fluxus artists of the 1960s. He differs from Higgins and members of the first generation, however, in that he is less theoretical and more experiential in his approach to his art. There have been no VEC manifestos published by Summers, although one may intuit what it encompasses by examining the activities undertaken and products issued under its sign...
More @ Wiki
Mail art by Rod Summers documentation (partial
Taken from http://mailartarchive.com/2012/02/13/raiders-of-the-lost-artefacts/rod-summers/
Taken from http://www.logolalia.com/mailart/archives/2007_11.html
Taken from http://www.logolalia.com/mailart/archives/2007_11.html
Taken from http://nashmailart.blogspot.com/p/page-10.html
Taken from http://nashmailart.blogspot.com/p/page-10.html
Taken from http://mailartists.wordpress.com/2010/04/19/rod-summers/
Taken from http://a1mailart.blogspot.com/2013/11/rod-summers-collage-collaborations.html
Taken from http://a1mailart.blogspot.com/2013/11/rod-summers-collage-collaborations.html
Taken from http://bluetempera.blogspot.com/2013/10/rod-summers-netherlands-for-mail-art.html
Taken from http://bluetempera.blogspot.com/2013/10/rod-summers-netherlands-for-mail-art.html

More tapes available @ vecworldservice.net