two pioneering luminary producers from the world of dub reggae music have sadly passed away recently. Richard has a small tribute and some of their music.
This morning a special on the Boston based American experimental sound artist Jed Speare. He is a soundscape artist utilising environmental and musique concrete theories and approach. We Will Be Featuring a brand-new double CD of his SoundWorks from 1982 to 1987 on the Family Vineyard label . Also his earliest recording cable car soundscapes from 1982 on Smithsonian Folkways recordings .
Jed Speare is an artist working in a variety of media. Initially trained in music composition, he has made multidisciplinary work in time-based media such as sound art, performance, video, and film, and has also exhibited conceptual and community-based work in museums and galleries, regionally and internationally.He has had a number of awards.
Jed Speare works in sound within a lineage from musique concrete to electroacoustic music and industrial culture. In the Words of Jed Speare:
As a Young Composer in the late 70s seeking a stronger connection between practitioners art, my own life and the phenomena around us, I was driven to working with tape recorders and the environment of sound. I had been profoundly affected by R. Murray Schaeffer’s book The Tuning Of the World when I set forth in 1978 to go to the origin of his research, The World Soundscape Project, outside of Vancouver, there to attend classes at Simon Fraser University’s Sonic Research Studio. My own homage to that realm came in 1982 with the record album Cable Car Soundscapes, a work which starts out as a sound document and goes on to include interviews and ends as a tape composition. It is really a tribute and memorial to the historic cable cars of San Francisco which were being phased out at the time. Here Are some excerpts from cable car soundscapes.
4 voices –6′ 50″
5 mettle of metal — first 5′
Continuing in the words of Jed Speare: I was enchanted by musique concrete as a music student in the early 1970s speare believed the new increasingly popular electronic music instruments at the time offered a much narrower sound spectrum than the musique concrete rich palette of environmental sounds. He Established his own studio in San Francisco in 1980 and used tape recorders and microphones. He went on a sound journey of field recordings and returned to the studio for manipulation and mixing and of course, cutting and splicing . Musique concrete style. This all happened well before digital sampling. And now from his
SoundWorks 1982 — 1987 from the CD one:
At the Falls 1982 — section 4 (21′ 33″ — 26′ 50″)
This Was a Performance in New York around a waterfall, and the sound was to have an essential quality like the ambience of water without using any water sounds . The vocal interpretations were recorded at a psychiatric hospital in Mitrecourt in France. Section 4 the baseline sound is recorded live at a survival research laboratory performance in San Francisco in 1981.
sleep tight 1982 — 13′ — 21′ 01″
It’s a Collaboration first performed in New York in 1981 and then travelling to Holland. Some of the sources for the score include a hospital sleep clinic in the Bronx, the Franklin furnace in New York and it also included film by experimental filmmaker and David Geary.
taboo death, 1982 — 6′ 55″
before AIDS was first reported in San Francisco this performance was presented in New York. The voices are from the streets of San Francisco, a hospital and sounds from the Paris Metro and industries, amongst others.
Love Object, 21′ 24″ first 7 minutes
sound and music by Jed Speare, performance in collaboration with Rob List. As a participant in the so und so und so II visual music days Festival Speare created a work that combined tape sound, live performance and sound sculpture. The Love object is the sound sculpture — 12, 5 inch speakers mounted on copper rods in a white cylindrical vase. Tone generating oscillators were fed through them. The speakers swayed on their stems sound sunflowers.
Wayside 1987, first eight minutes (13 preferably)
a sound piece about airports having a population, which is transient yet stable. It Is a collaborative video and audio work. Presented in Amsterdam and using the Schiphol airport for video and audio recording. This piece marked the end of Jed Speare’s sound driven, image based collaborations and performance he made in the 80s.
Brings to an End our journey through the sound world of Jed Speare.
Background Noise Tuesday March 25, 2008
Good Morning, this morning a special on American musician Robin Crutchfield and the new York no wave band DNA . Featuring his new solo CD For Our Friends in the enchanted other world (officially released on November 13 last year) . Before That however over to Richard with some DNA information and music.
In dark day he made the most of a revolving door of musical guests over the years including Steven Brown of Tuxedomoon and filmmaker Jim Jarmusch before settling into the art of the solo computer overdub. He now pursues electronically manipulated acoustic soundscapes of faerie realms for the daydreamers of the world.
The new CD by Robin Crutchfield, For Our Friends in the Enchanted Other World is released on the American label Hand/Eye and his third solo CD . It is surprisingly delicate and has been described as
A tiny treasure box from a lost garden, this album finds Robin further exploring his unique world; one of delicate harp compositions, glissando & deep drones. Soundscapes for daydreamers of this & other worlds.” The sounds are created by:
harp, droning tanpura,toad, wineglass, wooden flute, bells, stomping feet, jinglebox, sampler, flying machines, and forest floor all instruments are played by Robin Crutchfield. The Material was recorded at the tree house and some at forest’s edge. Robin describes this CD as
‘harp and drone acid folk’ . The Music is in semi-eastern and middle eastern and medieval chords which tell a story like a 1001 night fairytale for the fairy folk. I call it a new genre, elf music. And now a selection of music from our friends in the enchanted other world.
3,Lost on the breadcrumbtrail 4,Finding our woodland way
6,Dappled Forest Daylight
7,The Birds Know
9,Enchanted Cream Truck
10,Did I Imagine That?
He says further I now devote my musical output to attempting dreamy soundscapes that paint aural pictures of the enchanted otherworld
Henri Chopin was a pioneering and very influential French sound poet.He passed away at the age of 85 on January 3 this year at his home in England. As poet, painter, graphic artist and designer, typographer, independent publisher, film-maker, broadcaster and arts promoter, Chopin’s work is a barometer of the shifts in European media between the 1950s and the 1970s.His publication and design of the classic audio-visual magazines Cinquième Saison and OU between 1958 and 1974, each issue containing recordings as well as texts, images, screenprints and multiples, brought together international contemporary writers and artists such as members of Lettrisme and Fluxus, Jiri Kolar, Ian Hamilton Finlay, Tom Phillips, Brion Gysin, William S. Burroughs and many others, as well as bringing the work of survivors from earlier generations such as the Dadaist Raoul Hausmann and Marcel Janco to a fresh audience. Thank You Henri for opening people’s ears to the often overlooked sounds of human voice. And for championing the forgotten but much loved reel-to-reel tape machine. Your Legacy will live forever.Now his 1965 audio poeme L’energie sommiel from his sound poetry magazine OU.This Will Be Followed by reflections on Henri Chopin by our own sound poet Amanda Stewart whose work really embodies his concepts,spirit and vitality.
This Morning On Background Noise The Second Part of the interview from Vienna with Peter Rehberg, sound artist and founder of the editions mego label in Vienna Austria. He will be talking about his recent collaborative projects,KTL with Stephen O’Malley from the American drone rock group SUNN O)))) and R/S, a digital electronic music sound clash with Markus Schmickler from Cologne . Peter Rehberg and Markus Schmickler have been at the forefront of the European electronic music scene over the past 15 years.
3,Forest Floor 2 first 6’
5,snow first 6′
1,Abattoir first 9′ 06
2,track four 6′ 50″
Web address: www.editionsmego.com
Thank you to Peter Rehberg and Amanda Stewart. Thank you for listening this morning, thank you to Richard fielding for studio production.
on January 3 at the age of 85 Henri Chopin, the innovative and groundbreaking French sound poet passed away. We will be doing a tribute to him on the next Background Noise.This Morning we will be playing tracks from the three brand-new experimental electronic music releases. The demand series on editions mego from Vienna. I will also be playing the first part of an interview with Peter Rehberg from his home in Vienna, who runs the label and performs and records under the name Pita. This morning he will be talking about the demand series and next program about his recent collaborative projects .*demand 01 track 2,pink umbrella 10,Astra demand 01 by Silvia Fässler & Billy Roisz: Skylla CD Silvia Fässler: computer, electronics, guitar, Billy Roisz: computer, turntable , continuing with the interview. that was demand 02 by Gert-Jan Prins: Break Before Make CD2’Timpanilowfdbck
14,Longraspgroove *demand 03, that was the first 13 minutes from Demand 03 6°FSKYQUAKE
Total Time: 33:41 Stephen O’Malley: HP 200CD & Travis Bean / Fender Twin Reverb
Attila Csihar: Vocals , Written & Produced by Stephen O’Malley
Lyrics by Attila Csihar