anonradio: the next generation

Background Noise: Experimental film soundtracks of Arthur Cantrill With Clinton Green

Posted in Uncategorized by loops on June 10, 2010


The link is here

this morning our very special guest is Clinton Green who runs the label shame file music label based in Melbourne. He will be our guide through the world of the experimental films of the Australian experimental filmmaker Arthur Cantrill and his wife Corinne. It will also be a journey through the self constructed experimental soundtracks of Arthur and Corinne Cantrill from 1963 to 2009 courtesy of the soon-to-be released shame file music CD chromatic mysteries. I spoke to Clinton from Melbourne a few days ago and it. The music will be interspersed with his insights and reflections.
TRACKS
FIRST BRACKET:

Track, title, year, duration

1,Meteor Crater,1978,6′ 14″

2,Petunias,1996,3′ 50″

7,Galaxy,1963, pure musique concrete,4′ 29″
SECOND BRACKET

9,The Second Journey (to Uluru)(excerpt),1981,6 ‘ to 10′

5, Waterfall(excerpt),1984, first 4’
THIRD BRACKET

4, 9 Image Film,1971,2′ 43″

6, Eikon,1969,3′ 29″

10, The Room of Chromatic Mystery,2006,7′ 00″,

Background Noise:German experimental rock and electronic music from 1972 to 1983

Posted in Uncategorized by loops on June 10, 2010

The link is here

, this morning

German experimental rock and electronic music from 1972 to 1983. Courtesy of the brand new Soul Jazz double CD. Many German youth were turning their back on mainstream society. From the opening of the first collective/cooperative in 1967, Commune 1, in Berlin, to the formation of the Baader-Meinhof terrorist group These cooperative and communal experiences led to a number of new radical German bands including Amon Duul, Faust and Can. Many artists and musicians believed a complete rejection of everything musically that had gone before was also necessary in order to build a new identity for German culture.

The first recordings of groups such as Kluster (later Cluster) were extreme experiments with sound; un-music, anti-melody and anti-rhythm – attempts to destroy any musical links with the past. Holger Czukay and Irmin Scmidt of Can studied music under the radical avant-garde composer Karheinz Stockhausen and Conrad Schnitzler studied art under the conceptual artist Joseph Beuys. German rock groups were as interested in musique concrète and serial compostion as they were in the psychedelia of Pink Floyd or the rock, soul and jazz music played by resident American forces.

CD 1

9,11,12,13

9,Conrad Schnitzler,Auf Dem Schwarzen Canal,1980,3’12”

11,Harmonia,Veterano,1974,3’56”
12,Faust, It’s a Rainy Day Sunshine Girl, 1972,7′ 26″

13, NEU, Hallo Gallo, 1972, 10′ 03″

Track, Artist, Title, Year, Duration

CD 2

1,3?,4,5,6,9,10

Track, Artist, Title, Year, Duration

1,Cluster,Helsse Lippen,1974,2’21”
4,Amon Duul II,Fly United,1973,3’29”
5, Popol Vuh,Aguire I,1975,6’13”

6,Ash Ra Temple,Daydream,1973,5’22”
9,Roedelius,Geradewohl,1980,3’31”
10,Can, I Want More, 1976, 3′ 30″?

11, Deuter, Soham, 1972,4′ 55″

Background Noise: Some Horror Film Music and music to The Road

Posted in Uncategorized by loops on June 8, 2010

The link is here

this morning we step into the realm of music for film. The horror genre has always been a fertile ground for inventiveness in the film scoring. We begin with the score by Max Steiner for the 1933 film King Kong and fast forward to last year to the score by Christopher Young to the wonderful Sam Raimi gore/splatter film drag me to hell and then onto the truly beautiful dark in the tarkovsky tradition film  from this year the road and the music of Nick Cave and Warren Ellis.

First King Kong. King Kong was Max Steiner‘s and film music’s greatest achievement in the early Thirties. It wasn’t until 1933 and King Kong that Steiner was offered a film wherin music would play such an important role in creating and sustaining atmosphere, characterization and pacing. The composer worked in close to what the collaboration with the directors during the composing of the score. The score was begun by Steiner on December 9, 1932, and completed about eight weeks later.It Was One of the composer’s favourite scores and one of his few modernistic.Moscow Symphony Orchestra rec. 1996,naxos radio label. A selection beginning with the main title.

Track, title, duration

*1,main title,2’09”

*5,3’26

*8,3’49”

*11,1’21”
*12,1’47”

19, Kong escapes,4′ 27″

Drag Me to Hell. 2009 film one review of this score by Christopher Young: The immediate appeal of Drag Me to Hell is its almost ridiculously overblown, unabashed style. There is no musical style heard in this score that has not been heard many times before; but so fresh are the employment of those styles, and so blatant are their uses, that it never once comes across as cliché or uninteresting. It is a score which thrives in its own self-aware intentions. A selection beginning with an exemplar of scoring against on screen action, creepy.
 Track, title, duration

3,1’53”

8,6’32”
9,4’36”

10, 5′ 12″

 

The Road from this year, nick cave says about the film  “The movie is about the loss of things, the absence of things, the lack of things,” The music was composed as a direct response to the film. A light, haunting, simple score with a sense of absence and loss at its heart.” A selection beginning with the title track.

Track, title, duration

2,3′ 49″

4,2′ 09″

5,1′ 27″

6,2′ 46″

9,3′ 16″

13,1′ 17″

17,3′ 09″

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