anonradio: the next generation

Background Noise: Recent Experimental Electronic Music from Vienna

Posted in Uncategorized by loops on July 1, 2008


this morning we return to Vienna in Austria for some recently released experimental/electronic music.

Firstly the CD Film by Stefan Nemeth released recently on thrill Jockey .  This is the first solo album by Stefan Németh,

 member of Radian and Lokai and the co-founder of Mosz Records. The album developed out of his years of work creating soundscapes for experimental filmakers and installation artists, but it was only after years of creating this work that he had the idea to repurpose it for an album under his own name. So Some are reworkings of previous film scores and some are stand-alone pieces.

Since around 2001, Stefan Nemeth has been working with the creators of short films and experimental videos for special film Festival programs and had always wanted to embark on a solo career.  So from film, an audio excursion, cinema for the ears, a  CD described as very cinematic.

track, title

2, field

4,luukkaankangas [ from luukkaankangas — updated, revisited ]

5,soprus(from soprus-frienship)

6,ortem ende [ from ortem ]
Next, two recent releases on the editions mego label from Vienna.  The first in a similar vein to the film CD.  A red coloured vinyl record, 12 inch 45, reworkings of soundtracks by the 70s Krautrock group popol vuh to two films by the German director Werner Herzog.  They Did rich soundtracks to his films in the 70s and 80s.  Here One is by Florian Hecker and Russell haswell and the other which we will listen to is by Mika vainio,
‘Nachts: Schnee’ from the 1987 soundtrack ‘Cobra Verde’, and delivers a skillfully constructed ambient piece of beauty, which shifts and turns over 10 minutes.


Now reissue of ‘Get Out’ which was the second full length album release by Pita (aka Peter Rehberg). The folllow up to the award winning ‘Seven Tons For Free’. Its harsh use of available computing devices made it popular both in and outside electronic

music circles of the time, especially the 11 minute anthem like 3rd track. Which We Will Hear (the second in this bracket) .  It was Made by Pita in 1998/99 using an Apple Powerbook 1400cs/133.

This Is One of the crucial documents of the laptop era’s first phase, here is a selection:

track, title






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Background Noise: Marcel Duchamp music and words

Posted in Uncategorized by loops on July 1, 2008


Bebe Barron, one of the most innovative musique concrete composers of the last century, died on April 20 in Los Angeles; with her husband Louis they composed the first electronic score for a feature film ,the 1956 science-fiction classic “Forbidden Planet”. She was 82. It Was the Only film score they ever created.  Mrs. Barron would sort through hours and hours of tape. Together the Barrons would cut and splice; play segments at varying speeds to change the pitch; run segments in reverse to create new sounds; or induce delays to produce echoing feedback. She Was a Real music concrete/reel to reel tape practitioner whose legacy will live forever . We Started out with an excerpt from the soundtrack to Forbidden Planet  directed by Fred M Wilcox.


This Morning on Background Noise, Marcel Duchamp. He Was Born near Blainville in France in 1887 (died in France in 1968) .  Marcel Duchamp, is recognised today as being a leading artist and theorist of the 20th-century.  After early experiments with traditional styles and Cubism he abandoned orthodox forms and techniques and in 1915 relocated to New York.  There he worked on provocative readymades such as fountain (1917), a porcelain urinal signed R Munch and promoted surrealism, and Dada together with Francis Picabia from the Dada group in Zürich and Man Ray.They brought to New York the Dada ideas of absurdity and anti art. The New York Dada was rather more playful than the European counterpart and Duchamp introduced  his humour and ideas about art into the New York activities, they often met in Greenwich Village. We Will Hear, alternately music and spoken word by Marcel Duchamp, mainly from the CD released last November on the English label LTM.  The CD is  titled Marcel Duchamp: Musical Erratum + in conversation. Written in 1913, the Musical Erratum for piano forms part of the sequence of notes and projects which led to Duchamp’s celebrated artwork, La Mariée Mise à Nu Par Ses Célibataires, Même (The Bride Stripped Bare By Her Batchelors, Even, often called The Large Glass). La Mariée is also the sub-title of the 1913 piano work. The Piano  Works Are Composed using chance operations.Abstract, elusive and even “inachievable” according to the artist, the Musical Erratum consists of two scores. In the first, notes are replaced by numbered keys, and virtuoso performance is discouraged in favour of novel mechanical instrumentation. The second offers a form of random composition, by which numbered balls are dropped into the moving wagons of a toy train. Famously, Duchamp described the whole as “a very useless performance, in any event.” Two versions are included on this CD, including a conventional (but non-virtuoso) performance on piano, and another on which spinning rotary discs brush the piano strings to produce extraordinary tones, the first piece we will hear performed by Mats Parsson and Kristine Scholz in 1981,

: and then we will hear various, spoken word pieces, interspersed with the piano music Musical Erratum (La Mariée Mise à Nu Par Ses Célibataires, Même) (the bride stripped bare by her bachelors.  Even)/ performed by Tom Felderchuh in 2007.

1,erratum musicale: La Mariée Mise à Nu Par Ses Célibataires, Même)/ preparedpiano,

8, piano part three,                                                                                                                                            2, the creative act (lecture given by Duchamp, in April 1957 at the conference of the American Federation Of Arts in Houston, Texas)

11, piano part 6




3, A L’Infinitif (in the infinitive)

12, piano part 7

4, interview (part one), with George Hamilton, London, 1959

13, piano part 8

The third piece of the three he composed, Sculpture Musicale is a note on a small piece of paper, which Duchamp also included in the Green Box (published by him in 1934) . According to Arturo Schwarz, the piece was written sometime during 1912 – 1920 /21, although 1913 is the most probable year. The Musical Sculpture is similar to the Fluxus pieces of the early 1960s. These works combine objects with performance, audio with visual, known and unknown factors, and elements explained and unexplained. A realization of such a piece can result in an event / happening, rather than a performance.


3, Sculpture Musicale  Musicboxes version by Petr Kotik

4, Sculpture Musicale (Mesostic by John Cage) John Cage, voice



1. Anthony Mannix, Australian art Brut maker, exhibition called a cerebral Odyssey at Orange Regional Gallery until Sunday July 13.  The Gallery is located on the corner of byng and Paisley streets in orange.  You can e-mail the Gallery for directions approaching from Sydney.  The e-mail address:  The opening hours are Tuesday to Saturday 10 a.m. to 5 p.m., Sundays midday to 4 p.m..  Now we will hear about the exhibition from Anthony, whom I spoke to recently.


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Background Noise: The Anthology Of Noise and Electronic Music number five

Posted in Uncategorized by loops on July 1, 2008


this morning the brand-new an anthology of noise and electronic music number 5 –fifth a chronology 1920 — 2007 on the sub Rosa label from Belgium.  It is a worldwide survey of 20th-century to the present avant-garde and experimental music. We Will Hear a selection from each of the two CDs mainly by artists not previously played on background noise  . A Selection covering early electronic music, vocal and sound experiments and noise.


1,rogelio sosa, vinylika, 2003

3,Li chin sung a.k.a. Dickson dee, shame, 1994 — 2007

4, Francois Bernard Mache, prelude, 1959

6.Wolf Vostell,electronicher De–colagge.  Happening Raum, 1968

8. Andre Boucourechliev, Text 2, 1959


1.mauricio kagel, antithese, 1962

2. Vladimir Mayakovsky, and would you?, 1920 — restructured 1930s

3.Raul Hausmann,fmsbw, 1918, recorded in 1956

4.Gill Joseph Wolman,megapneumies,1963

6. josef Anton riedl, leonce und lena, 1963

11.Masonna/Yamazuki “Maso” Takushi, Spectrum Ripper Parts I,II,III, 1996 — 97


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