Background Noise: Swedish Text Sound part two and forerunners of Swedish electronic music
this morning part two of Swedish text sound: a Stockholm Festival.CDs four and five from the five CD set released in 2005 on the Swedish label fylkingen. Swedish text sound is really an amalgam of sound poetry, text, concrete poetry and electroacoustics. There Is a Great Freedom of the Swedish word intended to free Swedish languageSome of the Work Is particularly Dada phonic reminiscent of Hugo Ball and Kurt Schwitters from the early 20th century. Unless stated otherwise all text sound pieces played this morning were realised at the studios of the EMS in Stockholm. Later forerunners of Swedish electronic music.
CD 4
track, artist, title, year, duration
3, Sandro Key-Aberg (1922 -1991), Tro-Hopp-Karlek (faith -hope -love) 1970,6′ 47″
He Was a major Swedish poet of his generation. This was his first attempt at text sound composition.
Realised at the Swedish radio.
5, Ilmar Leaban(1921 -2000), Stentorsston 1968,4′ 56
He Was Born in Estonia and moved to Sweden in 1943. He was very steeped in the tradition of the European avant-garde.
Particularly Dada phonic and a real freedom of the Swedish language. Electronic sound poetry. His work is pure sound poetry with echoes of Russian zaum (linguistic experiments in Russian futurism coined in 1913) and French lettrism began in the 1940s — a real dissection of language in this case Swedish and annihilation of the word.
6, Ilmar Leaban, I revolutionens sno (In the Snow of Revolution, 1970,3′ 51″
Again Swedish Dada phonics, electroacoustic sound poetry.
8, Ilmar Leaban, Ciel Inamputable (unamputable sky), 1970,4′ 07″
More freeing of Swedish language through multitrack Dada phonics
9, Ilmar Leaban, Des Dalles Et Des (about stone plates and dices) 1970,2′ 40″
CD5 Some European points of reference from the festival in Stockholm.
track, artist, title, year, duration
1, arrigo lora-totina (b 1928),chiacchere, 1976, 5′ 07″
He Is a poet, performance artist, painter and leading figure in Italian avant-gardism.Realised in his own studio in Italy.
5, Ladislav Novak (1925 -87), les miroirs aux alouettes, 1968, 3′ 07″
Was a Czech poet, painter and most notably collagist and a pioneer in Czechoslovakian concrete poetry.
6,”,ceterum autem, 1969,2′ 12″.These pieces have very little if any electroacoustic treatment.
9, Paul De Vree (1909-84), Stockholm ode, April bel sneow, 1971,5’07”front figure of the Belgian avante- garde.His concrete poems were very influential.First text sound composition in 1965.
Now some forerunners of Swedish electronic music,1955-65 from cd released on fylkingen in 2008.The first electronic music studio the EMS in Stockholm didn’t open until 1965.These early compositions mainly with reel-to-reel tape were made at home or other tape studios.
Track,Artist,Title,year,Duration, where realised
2,3,5,6,7
2,bengt hambraeus, doppetrohr 2, 1955,4′ 01″, realised at the studios of WDR cologne
(1928 -2000) The First Important Composer and Introducer of electronic music in Sweden. Very much musique concrete composition. He connected with Stockhausen and others in Germany.
3,rune lindblad,optica 2,1958-1959,5′ 57″, realised at the composer’s studio vastra frolunda
(1923 -1991) The First Person in Sweden to make tape music (1953). This piece is the result of experimentation with magnetic film sound.
5,arne mellnas,nite music,1964,6′04”, realised at the San Francisco tape music centre
(1923 -2002).He Was Involved in studies at the Darmstadt School in Germany in 1960. Wonderful early table loop composition.
Background Noise: Swedish Text Sound Composition Part One
this morning the first of two parts on Swedish text sound composition courtesy of the Swedish fylkingen label. Released originally between 1960 and and 1977 in conjunction with the Swedish radio.Documentation of the international text sound composition a Stockholm festival which occurred several times between those years in Stockholm. This is a reissue on five CDs (2005)of the long out of print seven LP records of the recordings. Incredible recordings many of which were realised at the Stockholm Conservatory. Although the festival was international I have chosen to concentrate on the work of the lesser known in Australia, Swedish text sound artists. The Swedish text sound is really like a marriage of text and fragments of language and electroacoustics,intended to free Swedish language. Utilising electronic studio processing of text readings.With Elements of concrete poetry and music. A few historical markers:
Concrete Music was introduced to audiences in Sweden at a fylkingen concert as early as 1952. In the words of one of the important Swedish text sound composers Sten Hanson: Fylkingen was founded in 1933 as a chamber music Society to organise concerts in Stockholm mainly of contemporary music. In the mid-60s Fylkingen was divided into several working groups with different artistic and theoretical roles not solely music .One of which was dedicated to the linguistic arts and was chaired by 30-year-old bengt emil Johnson. The term text-sound composition was coined in 1967 in Sweden by the composers/writers Lars-Gunnar Bodin and Bengt Emil Johnsson
The reason for choosing the term text sound composition was that it could be neutral in its description. And could cover everything from sound poetry to Stockhausen.It embraced a whole history from Russian(zaum) and Italian Futurism(which freed the word),Dada poetry(such as Hugo Ball and Kurt Schwitters),surrealism and the Fench Lettrism.Also the new electroacoustics and the reel-to-reeltape recorder a la Pierre Schaeffer’s musique concrete.
bengt emil Johnson and Lars Gunnar Bodin worked at the Swedish radio and in 1967 they were sent to a conference on radiophonic art.All the pieces you will hear were recorded at the studios of the EMS(Electronic music) Stockholm unless stated.
CD 1
Track, Artist, Title, Year, Time
2,Lars Gunnar Bodin,Fom Any Point To Another,8’57”, 1968
(b.1935) has been a central figure in Swedish electroacoustic music since the 1960s.
4,”, Plus,1′ 18″, 1976 start the program with
5,svante bodin, Transition to Majorana Space, 10′ 59″, 1968
(b.1942)is the brother of Lars Gunnar Bodin is a meteorologist and during the 60s and 70s he was a text sound composer using his experience in science as a base for his compositions.
CD 2
Track, Artist, Title, Year, Time
7, Sten Hanson, Che,1′ 24″, 1968
8,”,coucher et souffler,3′ 25″, 1968
9,”, La Destruction de votre code genetique par drogues,toxines et irradation,1′ 47″, 1969
11,”, au 197.0,5′ 43″, 1976
12,”,biopsie 9.ne restez pas debout,4′ 15″, 1968
(b.1936)has worked in experimental music, literature and performance art since the 1960s.President of Fylkingen 1961-84.
Background Noise Tuesday, October 20, 2009,CONTINUED
CD 3
Track, Artist, Title, Year
8,Bengt Emil Johnson,2/67(Medan),1967
Recorded at the Swedish Radio(b.1936)Started working with text sound composition in 1963 and is one of the first in the field.Pioneer of Swedish text sound composition.
visit www.fylkingen.se.Thanks to Daniel at Fylkingen.
WHAT’S ON
Firstly, the exhibition opened last night and I spoke to Prof Colin Rhodes a few days ago.The Gallery Is Open Monday to Friday 10 AM to 4:30 PM and midday until 4 PM on Sundays, Anne is visiting from America and will be speaking at the exhibition today, Wednesday from midday to 1 PM phone 9351 6883
Everyone should see the quintessential outsider art exhibition in the first exhibition by Susan King from New Zealand at the Callan Park outsider art Gallery, Sydney College of the arts in Rozelle, open Saturdays 11 AM to 4 PM or by appointment.Until Saturday, October 31.
Next Program CDs Four and Five from This Collection of Swedish Text Sound Composition As Well As Some pioneers of Swedish electronic music.
Background Noise: Music That Shocked the World, the incredible outsider art of Susan King
The link is here this morning parts three and four of the special four-part radio series music that shocked the world produced by APM studios. We begin with part three.
Part four is a multilayered mega-mix/montage of musical styles from the 20/21st century. The styles and genres covered include the development of blues and jazz, avant-garde orchestral, electronic, minimalism and rock ‘n’ roll. For background to the programs and samples visit www.apmstudios.com.au/mtstw.
Interview with the curator Peter Fahey of a quintessential outsider art exhibition by New Zealand outsider artist Susan King. Raw, visionary, intuitive and overwhelming. Her first exhibition.
this morning an interview with and feature on Brisbane-based sound artist Joel Stern and the label Nature Strip . He is a multifaceted artist with a deep knowledge of and passion for experimental film. We Will Be Featuring a range of releases on the label with insights provided by him. I Spoke to Joel yesterday afternoon from Melbourne.
CD 1 (label release number five) Leaves by Eugene Carchesio and Leighton Craig
track, title, duration
1, untitled,5′ 56″
7, untitled,9′ 23″
CD2 from Joel Stern 2008, objects, masks and props (nature strip release number six).
Track, title, duration
1,Stradbroke Verse,4’57”
4,Wake In Fright,2’18”(a homage to the 1971 Australian film,a soundtrack?)
6.Dead Lakes,4’33”
8.Fortitudes End,4’12”
CD three
loren chasse -the footpath (nature strip release number seven),
6, footpath apparitions IV,7’16”
7,arbor pores III,4’16” (nothing like a close recording of rain falling)
Background Noise: Interview with and feature on Paul Lester, English post punk/beat poet
this morning at feature on the punk/beat English poet Paul Lester from his earliest recordings in 1975 to a CD of recent readings released last year. He really came into recognition during the post punk movement in the English Midlands(Birmingham) in 1980 with his group Lester and The Brew. Continuing on from our Sydney post punk excursions in the last two programs Through M Squared. The same vibe and musical vibrancy and inventiveness was happening in the years following punk all over the world: Australia, UK, Europe and America. I spoke to Paul Lester yesterday and his words will be intermingled with his poetry.
Background Noise: M Squared feature part two
This Morning, M Squared feature part two.Continuing the M squared story with two more luminaries from the M squared family, Patrick Gibson, founder, vocalist and songwriter with The Systematics and M Squared pioneer, welcome back to background noise Patrick and Shane Fahey, vocals, synthesiser and keyboards with The Makers of the Dead Travel Fast.Welcome Shane and thank you both for coming in. We will be delving further into the beautiful new vinyl on demand M squared box, pardon me for barging in like this. Unreleased and limited released recordings from 1979 to 1983. We will intersperse our conversation with tracks chosen by Shane and Patrick from the records. We will give details at the end for being able to obtain the release.
Tracks played:
First music bracket (The Makers of the dead travel fast), record three Style Noodle,
track title, all previously unreleased.
sea heads
urchin
sloop
slow Wasser
Everyone’s a Winner
second music bracket. (Patrick solo followed by the Systematics live)
firstly from record two, Not Another Bloody World, Patrick solo recordings from 1982 and 83
The Master Plan Ain’t Worth It
Corner
Children (10′ 20″ total)
from the bonus record six, 10 inch of the Systematics live supporting the cure at the Capitol Theatre in Sydney on August 8 (8/8) 1981 recorded on cassette from the mixing desk by Michael Tee
2,2, Bovine?
Third music bracket (Shane and Patrick compilation tracks) from selection record five, Patrick introduce the tracks
Side 1
1,knife on top ~3
Side 2
Untitled ,Height Dismay~3
2,3, Look at My Body (5′ 33″ total)
.the special performance night coming up.Shane.For Those of Us who lived through the M Squared days it will be like rewinding 30 years. The CAD Factory: 5 Handley St, Marrickville, Sydney
$15.00 at the door, Sunday, July 26 5 p.m. to 9:30 p.m..
BYO
Web addresses:
to purchase the M Squared box http://www.vinyl-on-demand.com/
further history of M Squared,www.msquaredrecords.com
Background Noise: M Squared Feature part one
this morning M. squared records feature part 1. with the label founders, producers and artists, the two Ms , Mitch Jones and Michael Tee. Thank you both for coming in, welcome to background noise . M. squared was absolutely pivotal in the Sydney post punk music scene, in the years 1979 to 1983. It was a very innovative and generous independent label and studio . The label and its own family of groups ranged from avant pop and rock, experimental to electronic music. This morning will also be the radio launch for the beautiful new tribute to the label released by the German label vinyl on demand. Called pardon me for barging in like this. A Retrospective Box Set with five LP records featuring mainly unreleased recordings by groups on the label and historic photos .
The music will be from scattered order, a cloakroom assembly and tracks from the compilation record in the box.
Track listing:
1.
Scattered Order record one, Waiting for You To Come Home.
Side Number, Track Number, Title, Duration
1,1, “Tanks” ,1′ 43″
1,2, “Violent 4” , 1′38″
1,4 “Untitled”, 3′ 12″
2,3 “Waiting for you to come home”, 2.51
2.A Cloakroom assembly , record four , mrrk+MRRK tracks
Side Number, Track Number, Title, Duration
1,1, TOM SALTED, 02:02
1,3, SNAREGRRR , 02:25
1,10, RAFT , 02:00
2,2 , RETREAT 1.08 , 02.54
2,3, LAST TUESDAY NIGHT, 2.42
3.Compilation , Selection record five, Your Company’s Logo Here
Michael selection
1,4,Day Glo, Prod,3′ 27″
1, 3, Eating Paper, The East End Butchers,4′ 12″
1,2 Dusk, Height Dismay,1′ 53″
Mitch selection
Side Number, Track Number, Title, Duration
2,2, “Blood pressure in the sand” , Height / Dismay, 3′ 29″
2,1, “Making babies in heaven” , A Volatile T Shirt , 4′ 08″
Background Noise:Anthony Pateras interview and feature,unreleased recordings
this morning an interview and feature on the Australian Melbourne based multidisciplinary musician(acoustic and electronic) and composer Anthony Pateras. Playing the only recording of his earthshattering solo piano performance at the now now Festival in January this year. Which most believe was the most incredible live music performance they have ever witnessed.And Other Unreleased recordings.His Work Ranges from solo piano and prepared piano work,developed further by John cage in the 1940s,to ensemble music and furious analog electronic music with Robin Fox.
we will begin with the words of Anthony .
track, title, duration.
1,FUG 1(Pateras/Griswold/Fox)(2002),12’ 21”(INTRODUCED AS HYPNOGICS)
2,hypnogogics for solo percussion(2005),8’ 08”(INTRODUCED AS FUG 1)
,the now now solo piano performance January 2009,recorded by Somaya Langley
Background Noise: Clare Cooper interview and feature on Germ
this morning the recent double CD Germ studies for guzheng and DX7 by improvising duet Germ, the musical marriage of keyboard maestro and former background noise guest Chris Abrahams playing the classic electronic 80s FM synthesiser/sampler the DX7(which Chris has been exploring since the 80s) and Berlin based harpist and co-founder of the now now Festival Clare Cooper playing the ancient Chinese zitar style guzheng. The CD is released on Jim Denley’s label splitrec. Mastered by Chris Townend at be Jesus Berger studios Sydney.We will learn about germ, the history, methodologies and music through the words of Clare Cooper whom I spoke to yesterday from cannes in the South of France where she is working on a television programme about the current cannes film Festival.The Australian broadcasting Corporation movie review show. We will intersperse music from the double CD release with the words of clare. There Are 99 tracks on each CD ranging in duration from four seconds to 8 minutes.
Beautiful minimal electroacoustic sound sketches.We Will Begin with the words of Clare Cooper
track listing
CD 1
Track, title, duration
2,ability,1’ 41”
6,competitive edge,1’ 48”
9,eating own shoulder,1’ 32” *
12,pretty whack,0’ 12”
20, drunk thunder,0’ 28”
22,Heck,0’ 18”
25,my foolish lung,1’ 41”
44,Bear VS Cyber W@sp,0’ 43” *
48, the blob ,1’ 54”
51,pay review,0’ 46”
64,neutrino,8’05”
94,full metal guzheng,2’ 01” *
98,the fight part II,0’ 29”
CD2
6, Green March,1’ 50”
10,Hazel Hawke,0’ 40” 3,12,Forcefield Pig(Skitter),0’ 26” *
17,Big Chill,0’55”
23,Martian Chamber Music,1’ 04”
28,Halley’s Comet,0’ 27”
32,Blustery,0’9”
36,electric sewer,2’ 07”
42,Sealord,1’24”
53,Rugby,1’ 58”
64,Death of Cyber W@sp,1’ 32” *
68,The History Channel,0’ 21”
75,Rope,0’ 07”
78,General Pants,0’ 15”
82, Textured Animals,0’ 46”
89,Deliverance Like,0’ 43” *
18,90,Slaughter,0’ 04”
19,91,The Con,0’ 51”
93,Group Dynamic,0’ 20”
96,Ominous,0’ 50”
98,Jaw Dropper,0’ 52”
Background Noise: New International experimental music compilations
This morning 2 brand-new international experimental music compilations each a limited edition of 100.We have secured copies for your listening pleasure.Firstly reworkings of the sound source track created from various cuts from the CD Elementality by Anders Peterson from Stockholm on the French label basses frequencies.Including The Loop Orchestra.Anders says the tracks are collaboration tracks or “reworks” using my sound source track, and many have added their own sounds into their tracks.
Track,Artist,Title,Duration
5,Aidan Baker(from Toronto,Canada), untitled,5′ 04″
6,Rapoon ( Robin Storey formerly from Zoviet France, UK) In Silence (walk away)(,4′ 48″
8,Sarana (Finland),Ne,5′ 15″
10, The Loop Orchestra, Elementality remix part one,5′ 12″
11,Radboud Mens (Amsterdam), First Theory,6′ 05″
Now theLimited-Edition Compilation CD accompanying the limited hardback edition of the book micro bionic , radical electronic music and sound art in the 21st century published by Creation books in England. From industrial to noise and more contemporary digital electronic music. From Europe, America and Japan.
8, Scott Axford, 60 La Scala (previously unreleased) 2009,5′
9, John Duncan, excerpt from Tap Internal 2000, 8′ 51″
10, Merzbow,Anicca Part Three (excerpt) 2008, first 5′
