Here is a link, the programme first aired on 23rd of September.
Richard Wright, keyboard player and founding member of Pink Floyd passed away on September 15 at the age of 65 following a short illness with cancer. Wright’s richly textured keyboard layers were a vital ingredient and a distinctive characteristic of Pink Floyd’s sound. In addition, Wright frequently sang background and occasionally lead vocals onstage and in the studio with Pink Floyd. he wrote significant parts of the music for classic albums such as Meddle, The Dark Side of the Moon and Wish You Were Here, as well as for Pink Floyd’s final studio album The Division Bell .Now a Richard Wright track,sysyphus part III (1’49”)from ummagumma the1969 fourth album by Pink Floyd.It’s hard to beleve it”s Pink Floyd.
Good Morning, Richard Fielding and myself John Blades return for a morning of quintessentially British avant-gardeism. This morning the recent double CD Biting the hand, the BBC radio broadcasts of Ron Geesin from 1969 to 1975 and released on Hux Records . He is one of Britain’s leading avant-garde composers and performers. The first CD includes introductions by and discussions with perhaps his greatest radio supporter, The Late John Peel.From his website:
Composer, performer, sound architect, writer, lecturer, broadcaster and interactive designer, Ron Geesin was born in Ayrshire in Scotland in 1943. He co-wrote Pink Floyd’s Atom Heart Mother [EMI CD] and made Music From The Body [EMI CD] with Roger Waters. After his first solo album A Raise Of Eyebrows [Transatlantic 1967], he became one of the first one-man record companies with As He Stands, Patruns and Right Through. His first book of poems and stories Fallables appeared in 1974.
On the CDs all instrumentation Is by Ron Geesin and includes:
Ron Geesin: voice, 6-string, 4-string, 1-string, detuned, multi-tracked and “eastern” banjos, red petrol can, piano (plucked, beaten and played), percussion, ring-modulated and multi-tracked percussion, celeste, mouth, cymbals, tape delay system, tape inside London bus, harpsichord, water cistern, VCS3 synthesizer, synthesizer bass, tape loop, tape loop of train on rails, mandoline, drum. etc
CD1, the main other voice Is John Peel
1,blues tuned a bit green,1’39”
2,pretty little faces,2’56”
3,off the left cuff,2’12”
7,a piece for harmonium,2’21”, all from 1968
For Expo 70 (Osaka Japan), he made a large multi-source sound-work in the British Pavilion. He Has Also constructed other multimedia environmental works.
He was often featured on John Peel and Bob Harris shows for BBC R1.
Continuing with CD one:
8,John Peel introduction,1’21”
9,wind of life,2’21”
11,whirls of brain,0’56”, 1968
15,3/4 plywood cover for voice.3’28”
18,Mr tape machine,speak with your heads,3’45”, 1969
And he has composed music for film and television. Interestingly he describes his live improvisations as “sub-conscious flow”, studio music as “electro-melodic sound-painting” and his life as “chance careering”.
Not surprisingly his influences include The Goons And Surrealism.
CD2, the first selection
3, agitation in anticipation of offspring part W,2’24”,
5, agitation in anticipation of offspring part Y,4’20”, 1969
As a spirited and informed lecturer, he has excited students since 1969 from primary schools to universities, examining the combining of music and sound with subjects as diverse as typography, the street and the media.
A Great Revelation for Ron Geesin was his discovery of the A 77 Revox reel-to-reel tape machine and tape loops and delay. He Has Collaborated with artist/writer Ian Breakwell in audio, video and radio.
He Has Released approximately 28 recordings since 1973.
Continuing with CD2, the final selection:
7,a cymbal and much electronics ,2’59”
8, got me black vest on,2’24”
9, which way out? Thank you,2’23”,1971
10, two feet and a mouth,3’24”,
13, Chrisfarce,3′ 16″
14, from Sevenoaks to Charing Cross,2′ 51″,1972
Finally , Ron Geesin said in 1969 “I want to mean something but I don’t want to belong to anything “.
this morning the new Klangwart CD on Staubgold with an interview with one half of Klangwart and owner of Staubgold, Markus Detmer from Berlin. After an eight-year-long studio hiatus, “Stadtlandfluss” is the new album by the Cologne(Timo Reuber)- and Berlin(Markus)-based electronic duo Klangwart . Also an interview with Prof Colin Rhodes about his collection of art Brut works on show at orange regional Gallery until November 16 .
Also English turntablist Philip Jeck and recent releases on the touch music label.
Firstly Klangwart, the new CD . I spoke to Markus Detmer last Friday from Berlin(35 deg to 7 deg).INTERVIEW Part 1,0-2’11”’track 1
1,Zwei Tone(Two Tones),5’09”
3,Radio(Voices on air),2’57”
INTERVEW Part 2, 3’09”-6’56”
4, Hamanamah(a technology mantra as a centre of calm),8’35”
5, Telemann(a multitude of violins condense into vibrant soundwaves),5’35” for me the climax
Now We Move to England and new releases on the touch music label. Firstly two more in the 7 inch series. Firstly headphones from the record project by AER which started as a film soundtrack . Designed to be listened to on headphones.
AER is the occasional recording name for Jon Wozencroft, art director and editor of Touch and Fennesz/Jeck/Matthews “Amoroso”.Fennesz first ( new album Black Sea to be released on touch music at the end of November) and then Philip Jeck remixing and collaborating with English pianist, organist, composer and teacher Charles Matthews. The Philip Jeck side finishes in a beautiful locked groove which we will hear one minute of(~10’).
The new CD by Philip Jeck is called Sand is on touch music and was recorded live in Holland and England in 2006/7 using fidelity record players, Casio SK keyboards,Behringer mixer and Sony MiniDisc recorders.
Track, Title, Duration
play Colin’s Promo an interview(~9’).
All information and directions for orange regional Gallery go to org.nsw.gov.au
OPEN TUESDAY TO SATURDAY 10 TO 5, SUNDAY AND PUBLIC HOLIDAYS 12 TO 4 CLOSED MONDAYS, a beautiful 3 1/2 an hour car trip from Sydney.
The now now next Monday night, October 13 at serial space at 8 p.m. and forthcoming splinter Orchestra tour,thenownow.net
The Next Background Noise in two weeks will be a precursor to Brut Loops at Artspace on Thursday, October 30 at 8 p.m.. In a special night of Art Brut, films, talks, slideshow, poetry readings and outsider art exhibition and audiovisual performances by Ian Andrews and The Loop Orchestra who will be launching the new Chinese split CD on sale for $10 .
Our very special guest for this morning is one of Australia’s finest musicians Chris Abrahams. Good morning Chris, welcome to background noise thanks for coming in . We Will Be Exploring Chris’s rich musical tapestry beyond the necks and particularly his recent collaborative projects. Firstly I thought we might start with Royil and the Australian film soundtrack before moving to the collaborative CDs .
this morning three recent releases on the raster noton label from Berlin. Firstly the surprising sound collaboration between Cosey Fanni Tutti (From Throbbing-Gristle) and the Swedish Russian born electronic sound artist COH (Ivan Pavlov). The CD is called COH Plays Cosey released on March 6 . The project was initiated by Ivan based on an e-mail discussion between the two of them which covered many subjects including aspects of human vulnerabilities, our perceptions of reactions to situations, the creative force within us, and the influences of culture and gender. The tracks are made entirely of voice recordings (a voice diary) by Cosey Fanni Tutti based on these discussions which were edited and manipulated by Ivan over a period of about 18 months. Later this year Cosey hopes to begin work on the follow-up sister album COSEY PLAYS COH.
Track, Title, Duration
2, crazy,5′ 58″
8, inside,4′ 58″
CD 2 is bytone (Olaf Bender) the music of ,death of a typographer’ carries the special sound of raster-noton – but it is different: the tracks act as focal points, as elegy of an latently flowing stream, a stream that still moves on even when the music has long faded away.Olaf bender who runs raster noton with Carsten Nicolai is also responsible for the exquisite graphic design and the new clean crisp clinical white colour scheme.
1, into bios (intro),0′ 48″
6, capture this (I),3′ 18″
7, capture this (II),4′ 40″
9, heart,7′ 45″
CD3 the most recent, Alva-Noto,Unitxt the title unitxt could be read as
– unit extended referring to a unit of a rhythmic grid
– or universal text referring to a universal language, e.g. mathematics: units, constants, measurements, prefix-, SI system of units
and is represented in spoken word and by codes in sound itself. It Is Named after the Japanese club in Tokyo called unit were Alva-Noto performed in 2006 and 2007.
1,2,5,7, 12, 18, 20
1, u_07,7′ 57″
5, u_08-1,3′ 12″
7, u_08,5′ 36″
12, 60308_47,0′ 13″
26,spray 16x9a,1′ 07″
Thank You Richard and may the motorik beat continue, thanks to klaus dinger. Good Morning, this morning The First Two releases on the new 7 inch vinyl series on the touch label from England by Chris Watson and Christian Fennesz, and we will also be playing tracks from an early solo CD by each.
The First released in January by Chris Watson, , founding member of the original English post punk band Cabaret Voltaire and the experimental group Hafler Trio and for the past 10 years field recording maestro working as sound recordist on for instance the nature program on the BBC: The Life of Birds narrated by David Attenborough. The 7 Inch record is called Oceanus Pacificus
7″ vinyl only – not available for digital download
Limited edition of 1000
The voices and rhythms of the Humboldt current around the Galapagos Islands recorded April 2006 using a pair of Dolphin Ear Pro Hydrophones onto a NAGRA ARES-Pll digital audio recorder.
Locked grooves on both sides… of which will hear two minutes, so immerse yourselves.
The Second:Christian Fennesz guitarist and experimental electronic sound artist from Vienna,7″ vinyl only Called Transition, two tracks:
Side A: On a desolate shore 5:14
Side B: A shadow passes by 3:21
These two tracks are based on 8 different guitar recordings made at Amann Studios, Vienna, between 2005-07. The acoustic guitar was recorded with an AK c12 microphone. Other sounds were made using a Fender Stratocaster and a Vox ac15 amp.
We Will Now go back in time to some earlier work by each of these artists:
Firstly following on with Christian fennesz: Hotel Parallel, released on the original mego label from Vienna in 1997, the first four tracks:
4,Blok M,4′ 18″
now back to the first artist, a random selection of tracks from his second release on touch by Chris Watson, Outside The Circle of Fire, his second solo CD, released in 2004. Closely microphoned and beautifully recorded animal, insect and bird sounds in their natural habitats which sound incredibly electronic. 15′ approx.
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
This is the lazy uploader writing. I have placed two shows at once because I am naughty. They are:
About the Now Now Festival hereand
welcome to our very special guest for this morning, one of Sydney’s finest improvising musicians and one of the now now Festival organisers, Jim Denley. Who Is Becoming a background noise regular. Jim will be previewing the coming now now Festival and later playing the brand-new vibraphones CD by Dale Gorfinkle and Robbie Avenaim. Jim has brought in some work by participating artists in the coming now now Festival .Firstly Jim the details for the coming festival and an intriguing new location and venue:Friday, January 18 (this coming Friday), Saturday, January 19 and Sunday, January 20. At the Wentworth Falls School of Arts, 217 — 219 great Western highway Wentworth Falls. Small room and Main Room.first music Jim, why the move to the blue mountains and particularly Wentworth Falls?Second music Because of the Venue there are a range of different activities utilising the bush environment. Bush walks, outdoor activities for children and an intriguing outdoor performance involving a bush walk to get there. And an instrument building workshop.Third music Overseas and interstate performers this year including our own Clare Cooper visiting from Berlin and a sound poet from France: Emmanuelle Pellegrinni as well as : paul winstanley (nz) — electronics, thomas meadowcroft (berlin) – organ, Philip samartzis (melb) – electronics and Marcia jane (melb) – live video, carolyn connors (melb) – voice, rosalind hall (melb) – prepared saxophone, mathieu werchowski – violin (fr), xavier charles (fr) – clarinet , Taste of Teeth (brisbane)
fourth music As usual groupings of people who have never played together. Selection process. The late-night festival club at Akemi.fifth music Program. Tickets from moshtix, prices and accommodation.As usual all information is available at www.thenownow.net . Day Passes for Friday and Sunday are $20 and $15 concession, for Saturday $25 and $20 concession and a Festival pass is $48 and $40 concession.sixth music The Splinter Orchestra is always a unique performance, this year?Seventh music?Vibraphones CD on splitrec, Dale Gorfinkle And Robbie Avenaim, describe the project.Thank you Jim for coming in this morning.In two weeks on background noise a journey into the sound world of David Lynch. Featuring the sound and music for my film, film design and soundtrack of 2007 Inland Empire as well as some sound and music from eraserhead and twin peaks (actually the previous program on the anonradio site) .Thank You to Richard Fielding for studio production this morning.The Sound World of David Lynch here
this morning a journey into the sound world of David Lynch. Featuring the sound and music for my film, film sound design and soundtrack of 2007, Inland Empire. We started out with music and sound from the 1977 film eraserhead from the original LP record on IRS Records (side two track 2 –~ 2 cm in) . The sound was designed and produced by David Lynch himself and Alan R Splet. We heard the song In Heaven (Radiator song) with music by Peter Ivers, lyrics by David Lynch and vocal by Peter Ivers. It is in Eraserhead that Lynch’s symbiotic use of sound and image comes into fruition, and sets the standard for his later films.Eraserhead is a surrealist masterpiece and had a strong impact and was very important to many including industrial music artists such as the members of SPK. The sound is the sound for an industrial landscape.Now more of the wonderful pure sound from eraserhead.Side 1 – 5’(1CM IN )As the sound design of Lynch’s films introduce an extra dimension to what the audience perceives, so too do Angelo Badalamenti’s compositions.These elements are particularly prevalent in Lynch’s 1990-91 television series Twin Peaks where Badalamenti’s score becomes as symbolic as the characters themselves. For decades, his films have explored the darkness inherent in American culture, often through the prism of twisted sexuality and the carefully designed sound and music highlights the visual and emotional images. The Sound and music are always appropriately unsettling such as in night life in Twin Peaks we just heard.And the twin peaks theme at the end of the prog. Track, Title 9, Night Life In Twin Peaks Now Inland Empire. Completed in 2006 it took 2 1/2 years to complete. It is written and directed by David Lynch who composed and performed much of the music. It was entirely shot on digital video, which he predicts will be the film medium of the future. The mysterious rabbits come from the 2002 film of the same name written and directed by David Lynch with the tag line: “In a nameless city deluged by a continuous rain… three rabbits live with a fearful mystery”. In My Mind Inland Empire is David Lynch’s second greatest surrealist masterpiece after Eraserhead. The Music and sound weaves the images together. David Lynch music limited label.Track, Composer , Title 5, David Lynch w Marek Zabrowski,Polish Night Music No. 1 Started improvising together in 2004.Lynch on Korg synth,Zabrowski Steinway grand piano.2006 first public perf. Polish Consulate in NY.True improv. no score . They Experiment starting with a thought(THIS -industrial wasteland of Lodz in Poland). Lynch begins with a chord or pattern of sound.He has a great affinity with Poland.Zabrowski of pOLISH ORIGINworld renowned concert pianist and composer.
6, David Lynch, Call from the Past 7, “, Ghost of Love(note vocal by David Lynch)8, “, Mansion Theme
9, “, Rabbits Theme
10, “, Walkin’ the sky(vocal by David Lynch)
11, “, Woods Variation
13, Krzystof Penderecki, Als Jacob Erwachte Finally, Mel Brooks once described David Lynch as “Jimmy Stewart from Mars”.