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,hypnogogics for solo percussion(2005),12’ 21”
2,FUG 1(Pateras/Griswold/Fox)(2002),8’ 08”
,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′
Background Noise:The Russian Avant-Garde 1908-1941, Part Two
this morning the second part of our presentation of the early 20th-century Russian avant-garde through the beautiful new book and double CD release:
BAKU: SYMPHONY OF SIRENS SOUND EXPERI.MENTS IN THE SOVIET AVANT GARDE – ORIGINAL DOCUMENTS AND RECONSTRUCTIONS of 74 KEY WORKS of MUSIC, POETRY and AGITPROP(agitation propaganda) from the RUSSIAN AVANT GARDE 1908-1942. Released on the English label RER megacorp. Last programme we listened to a selection of the careful reconstructions of these incredible historical documents, this morning original archival recordings.
Track,title,year, duration, information
1,Enthusiasm The Dunbass Symphony,Dziga Vertov,rec. 1929-30,3’48”
3, “ ,” ,,1’04”
5, “ ,” ,,1’16”
7, “ ,” ,,34”
8, “ ,” ,,4’22”
11,Alexander mossolov,zavod Symphony of machines—steel foundry,2’ 58”
12,Dnieprostroi.The Dnieper hydroelectric power station,Julius heyfuss, rec 1931,2’ 29”
15,Winter,Alexiei Kruchenykh,1930 rec 1951 by him in Moscow,2’32”
16,Naval Romance,Vladimir Mayakovsky,1915 rec 1920,59”
17,Lili Brik reads Vladimir Mayakovsky,Steet to Street1913 rec 1950 ,1’09”
18,house painter, David Burliuk, 1913 recorded 1956, 28”
19,confessions of a hooligan,Sergei Essenin, 1921 recorded circa 1956,1’ 28”
21, the way I live, Vassily Kamensky, recorded in 1959, 43”
22,what is Soviet power,Lenin,1919 — 1920,2’ 33
25, 10th anniversary of the left opposition, Leon Trotsky,circa 1919,3’ 40”
26, night, Boris Pasternak,recorded in 1958,2’ 12”
27,to the muse,anna akhamatova, 1924 recorded 1963 – 1965,poem,43”
30,the realistic manifesto,naum gabo and noton pavena, 1920 recorded in 1968,8’ 08”
31,radio message to broadcast by Dmitri Shostakovich, 1941, 51”
32, radio broadcast of the Leningrad Symphony by Shostakovich(re creation, 1942,1’ 20”
Background Noise: The Russian Avant-Garde, 1908-1941,Part 1
This morning the glorious new book and CD release:
released on the RER megacorp label from the UK.A Double CD and beautiful hardback book release.
This morning the reconstructions and next program original recordings . I have chosen works which are in my opinion the most sonically interesting. They vary in duration from11 seconds to 28 minutes.It Was a very important and little-known vibrant, colourful and inspiring period of the 20th-century avant-garde art, music and poetry.The Programs will be sketches from the Russian avant-garde through the work of the poets, musicians and conceptualists. Before and after the Russian industrial Revolution of 1917. It was centred around Russian futurism and its many offshoots. Many more movements than the avant-garde elsewhere in the world.
Interestingly there were the futurist elements in the writing of in 1908 a year before the futurist manifesto of Marinetti in Italy.Italian futurism was widely covered in the Russian mediaand in 1914 marinetti was invited to Moscow to speak. He was mocked and there was a call for rotten eggs to be thrown at him.Because he had betrayed the original principles he had portrayed. This criticism came principally from Cubofuturists(to differentiate them from the Italian futurists) such as the poet mayakovsky and the founder of Russian futurism David Burliuk. Marinetti in turn called the Russian futurists psuedofuturists and said that one of the poets was from the Stone Age.They Wanted to eliminate the separation of past, present and future exploring their own Slavic roots as a meeting of the universal and the future. The reconstructions, recordings and new versions are by Miguel Molina and Leopoldo amigo and recorded between 2003 and 2007.
Track,title, artist, year, duration
1,symphony of factory sirens,Arseny Araamov,1922 ,first 12’08”
2, the radio of the future,velmir khlebnikov,1921,3’ 48”
3, the first spring concert of universal futurism,Ivan Ignatyev &ego futurist group,1912,1’ 47”
8,laboratory of hearing,Dziga Vertov, 1916,34”
9 “,1916,1’ 18”
11,Nikolai Foregger and his Orchestra of noises,1923,3’ 11”
12,factory,sergei prokofiev and georgi yakulov,1925 – 1927,2’18”
13,radio- ear/radio-pavda,dziga vertov,1925,2’ 58”
14,Sonata of sleep,Konstantin melnikov,1929 – 30,2’10”
16,overture,igor severyanin,1915,1’32”
17,echo,”,1914,33”
19,Dyr Bul Shchyl,Alex Kruchenykh,1913,20”
20,drama in the futurists’ cabaret,vladmir Kasyanov and the futurist circle,1913 – 14,3’ 32”
21,the family of vowels laughing, David Burliuk,1915,57”
22,Finland,Elena guro,1913,1’14”
24,Spain,olga roszanova,1916 – 1918,45”
25,Dada,H2so4 group,1924, 24”
27,manifesto of nothingism, the nothingists,1920,2’ 46”
28, decree about the nothingists of the poetry,1920, 17”
29, to see, Vassily Kandinsky,1913,1’ 29”
30,poem,kassimir Malevich,1919, 27”
31,poem without title,olga roszanova, 1916,16”
36,poem to the letter k, Vassily kamonski,1917, 32”
38,Mglybzhvuo,roman jakobson,1916, 40”
Background Noise: recent releases on Staubgold
this morning two brand-new releases on the Staubgold label from Berlin. The first called one hundred by someone we have not heard from for years namely David Cunningham collaborating with saxophonist Yasuaki Shimizu. We started the program with? From 1979 By the English avant pop and post punk brainchild of David Cunningham namely The Flying Lizards.On This Release David Cunningham uses guitar, footpedals, delays and kalimba.Yasuaki Shimizu plays saxophone,piano and also uses delays.Over the Years David Cunningham has worked with an eclectic range of people( This Heat,David Toop,Michael Nyman) and has made installation real-time exploration of acoustics(such as the incredible installation in the big old abandoned building on Goat Island for the 11th Biennale of Sydney in 1998.He Has Said: “I am interested in what happens when time,sound and space are explored together”. Yasuaki has played with Ruichi Sakamota and Bill Laswell and is also a composer and arranger.Here Are some pieces from the new CD:
Track,title,duration
4,Corners,7’35”
6,Why Me,5’08”
7,Roots,5’50”
CD2
Rauschgold: Alec Empire Plays Staubgold
Remixes of tracks from Staubgold releases by Berlin sound artist, composer and DJ. Tracks chosen by Alec Empire and Markus Detmer.
Track, artist,track title, duration
6,organ eye,Tema #2,2’ 51”
7,The Loop Orchestra,Radiophony,3’ 55”
10,faust,a seventies event,2’ 17”
12,Die Weltraumforscher,Liebe,3’ 55”
14,Klangwart,Zweitoneins,4’ 22”
16,Paul Wirkus,Black,2’ 24”
?17,Mapstation,More People Than two,2’ 29”
Background Noise: William S. Burroughs cut tape experiments, previously unreleased
this morning — Real English Tea Made Here, over three hours, three CD anthology of cut up tape pieces by William S. Burroughs on the audio research editions label . A Remarkable collection of recordings made at various locations in Tangiers and New York between 1964 and 1965. Containing rare and unpublished material providing a valuable insight into Burrough’s methodology and constitutes an important insight into his expansion from cut ups on paper to vocal permutations and sonic explorations. Radio is intercut with weather reports for the new York area, news reports of deaths of various forms including murders, plane crashes and foreign wars . We Will Hear from excerpts from the pieces which are up to 44 minutes in duration. The Experiments were made using reel to reel tape machines.Interestingly when William Burroughs was in London in the 1960s he met and spent time with Paul McCartney. He was present at the recording of Eleanor Rigby. Subsequently he gave him tuition in the cut up audio method which was then adopted by The Beatles on the track tomorrow never knows from 1966 for instance. In Late 1965 Burroughs recorded at the experimental studio of Paul McCartney in Montagu Square London.
The print cut up method was discovered by Bryon Gysin and used by Burroughs in his novels such as soft machine and Nova Express . Of course cut up and collage originated with the dadaists in 1920s. William Burroughs audio experiments are an extension of this .
Now some from CD1:
Track,Title,Duration
3,23 Skidoo,up to 3’41”
Started with, using two reel to reel tape machines, reading into one and playing back another reading on the other. Random pieces of sensational newspaper stories. Mainly containing the number 23, a reference to the 1920s catchphrase 23 skidoo. Recorded in 1965 in Burroughs’ New York loft at 210 Centre Street, Lower Manhattan,June 1965.
4,Are You Tracking Me,0-4’04”,19’44”-24’07”’,33’18”-37’10”
Burroughs’ readings from his short stories with random cut ins from radio news, advertisements and music from the day. From Random stations including foreign-language and shortwave static and Morse code. Recorded at the New York loft on April 20, 1965,edit
CD2
1,Old Farmers’ Almanac,0-10’14”
Similar approach but with more layers and longer drop ins.Recorded at the New York loft,April 1965.Fragments of an English Shakespeare radio play. On Top of This are two layers of Burroughs reading from The Last Words of Dutch Shultz, newspaper disaster reports and his own texts.
2,Puertos De Les Santos,10’03”-20’12”
Another take on the same theme,possibly recorded on the same day in the New York loft.He recorded dozens if not hundreds of these.Combines New York street noise,Radio WPAT news,weather ,stock exchange reports and Vietnam attack Reports.And more Shakespeare.
CD3 — excerpts.
1,The Piper Pulled Down The Sky,0-4’07” fade
A multilayered tape ,layers recorded in Tangier in late 1964 during recording of the soundtrack to the Anthony Balch film ‘Towers Open Fire’.Features Pan pipes,radio static and other music from Morrocan radio.
2,Wonderful Copenhagen,0-4’06”
more of the newspaper headlines with radio cut ins. New York circa summer 1965. Burroughs reads the headlines in an exaggerated dead pan voice.
3 Towers Open Fire 0-4’07”
This Is not technically a cut up as the cut ins are not random. Mutter and radio static are used as sound effects. It is really a radio play and is another reading of the text for the film Towers Open Fire.
4,We Are The Night Family,4′ 28″-end
a straightforward love story. Recorded In New York in 1964. Amongst other tape techniques it uses the technique of tape inching which involves running the tape rapidly backwards and forwards over the playback head of the tape machine.As a sound effect to illustrate the piece.
Background Noise: The Systematics with Patrick Gibson
the link is here this morning Sydney avant pop post punk and m squared flagship The Systematics (1978 officially 1980 — 1982) with founder vocalist and Sydney post punk legend Mr. Patrick Gibson . Welcome Back to 2 MBS FM where you used to present a program in the 80s . We Are Going to Take a wander through The short magical history of The Systematics through the beautiful recent german double LP of long out of print released and quite a number of unreleased recordings with Patrick as our guide.
What We Did in the Afternoons is the name of the compilation double LP of The Systematics. On the German label TU-134 and beautifully mastered by Cologne electronic sound artist Marcus Schmickler. Limited-edition of 500.
What We Did in the Afternoons is the name of the compilation double LP of The Systematics. On the German label TU-134 and beautifully mastered by Cologne electronic sound artist Marcus Schmickler. Limited-edition of 500.
Tracks played:
side/track/title/duration
1/1, pulp baby (1979 recorded at ABC studios Sydney),4’42”
1/4 , Die for My House (1981 recorded M2 studios Sydney,A Selection compilation LP),2’21”
1/8,BBD(“ with the beautiful vocals of Fiona Graham , 1981 recorded M2 studios, from My Life in The Field of Cows EP),2’40”
2/2,2,4,5,T (1980 recorded M2 studios, Rural 12 inch 45),2′ 25″
2/3, When I’m Older (”),2′ 18″ (absolutely gorgeous guitar of Michael Filewood)
2/4, Vanessa Teratology (”),2′ 53″
2/7MMMM (” Genesis P orridge like, a setting for words provided by Dru Jones with a beautiful drone background which like
flowers on the wall has an incredibly contemporary sound),2′ 00″
3/1, Suicide Beach (1981 recorded M2 studios, previously unreleased,dark subjects),1′ 59″
2/3, John Robinson (1980 recorded M2 studios, previously unreleased pure Electro punk a new genre strains of the American band suicide),2′ 55″
2/4, Jazz the Genius (1981 recorded M2 studios, previously unreleased),1′ 31″
2/6,ASIO ((1980 recorded M2 studios, previously unreleased),1′ 49″
2/11, Hippie Happening, (1980 recorded M2, previously unreleased),3′ 07″
2/12,going to war,1′52″
4/6,2/14, Sunny, (1982 recorded M2 studios, released on Terse tapes one-stop shopping four cassette compilation in 1982),1′11”
4/7,2/15, Marine Boy,”,0′ 49″
Background Noise: Laurie Scott Baker interview
our very special guest for this morning, is a living legend the pioneering improvising acoustic and electric double bassist and experimental electronic musician, Laurie Scott Baker visiting from England and his life partner Brigid, good morning Laurie and Brigid and thank you so much for coming in . Laurie was an original member of the legendary British avant-garde collective the scratch Orchestra with Cornelius Cardew (with whom he was very friendly) in 1969 . Born in Sydney, Laurie’s formative musical experience was in improvisation and experimental music, as well as the influences of Folk, Jazz and Contemporary Classical music. As Such He Was a prominent part of the 1960s London improvised music scene. He Will Be introducing a recent and soon to be released recording of his improvised music collaborations from 1969 onwards . These Will Be Interspersed throughout our conversation.
start program with track from LIQUID METAL DREAMING ~3’ then 2 more~5’
GRACILITY
Circle Piece parts three and four tracks 16, 17 ~9’10”
Bass Chants and Cues
1,Jackdaws Ascending,3’01”
3,Baby Binson Sonar,3’09
13,Winged Dove,1’12”
Pibroch
Robert Wyatt singing introduction ~1’
11,Pibroch 1926,2’00”
12,Pibroch the Call,3’29”
Gracility track
7,747 at keithrowe airport, approx 4′
Background Noise: interview with Gail Priest
this morning we are very pleased to welcome our special guest, Sydney electronic sound artist and now book editor Gail Priest. Gail is the editor and main force behind the new book and I believe first substantial survey of Australian experimental music history. Good morning Gail and thank you for coming in. The book is called Experimental Music: audio explorations in Australia. Published by the University of New South Wales press. There is a really nice compilation CD with the book and this morning we will be taking a journey through the book and its Evolution with Gail interspersed with music from the CD.
