anonradio: the next generation

Background Noise: Lydia Lunch

Posted in Uncategorized by loops on July 24, 2011

The link is here

Lydia Lunch was a leading light of the very important New York no wave scene from the 70s in New York. It was really an art punk movement , she is The vocalist with Teenage Jesus And the Jerks (1976 at the age of 16. – 1979) originally and in recent years reformed. Her large and diverse body of work typically features provocative and confrontational delivery and has maintained an anti-commercial, do-it-yourself ethic, operating independently of major labels and distribution deals.[2]

 This morning a focus on Teenage Jesus And the Jerks, her first solo recording and her new group Big Sexy Noise (very strong elements of New York no wave ) first release from 2009, Teenage Jesus And the Jerks early recordings and the main feature her spoken word collaboration with French electronic sound artist,  Philippe petit called twist of fate from 2010.

Track, Title, Duration

1, Empty Eyes,1′ 37″ start with

2, Less of Life,1’ 40″ or

3, The Closet,2′ 54″

Queen of Siam first solo recording from 1980.

7, Lady Scarface,3′ 11″

10, Knives in the Drain,3′ 59″

Big Sexy Noise self titled CD from 2009

1, Gospel Singer,2′ 55″

5, Baby Faced Killer,4′ 18″

6, Bad for Bobby,3′ 18″

 

And now the main feature Twist of Fate from 2010. Spoken word collaboration between Lydia Lunch spoken word and French (from Marseille) sound artist, turntablist and label owner Philippe Petit. Lunch provides abstract paranoid spoken word tales and guitar textures, which Petit wraps in dense claustrophobic soundscapes. CD and DVD (of a live performance) released on monotype records. For the next 36 min immerse yourselves in some dark abstract places.

Track, Title, Duration

1, Thirsty,3′ 12″

3, Twist of Fate,9′ 48″

5, Oxygen,5′ 12″

6, Mysterious Disappearance,5′ 14″ (with guitar washes myLydia)

7, Dream Drugs,6′ 00″

8, Louse,6′ 45″

 

 

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Background Noise: Sylvia Plath

Posted in Uncategorized by loops on March 21, 2011

The link is here

this morning feature on the great American poet Sylvia Plath, her frank and confessional style of writing won her a lot of fans. Mainly from the collection of rare and unreleased readings and conversation with her husband poet Ted Hughes. BBC recordings from the British library archive broadcast from 1960 until one month before her suicide in February 1963 at the age of 31, It was released in 2010 by the British library. Including fragments from a rare interview with her. She is widely regarded as an icon of American feminism.

 

We will start with her reading of the famous poem Daddy recorded by the British Council Cambridge England in 1962. This was released on Giorno poetry Systems dial a poem poets record totally corrupt 1976 on which William Burroughs also appears. Both writers were wonderful readers of their work which is quite rare for writers. Much is revealed about Sylvia in her readings and conversations. We will intersperse locked grooves between brackets of readings.

Now from the British library CD:

First Bracket

Track, title, duration

the living poet

1, leaving early,2′ 28″

3, poets in partnership Sylvia Plath and Ted Hughes (0-1’48”,3′ 02″ –4′ 30″,7′ 47″ –9′ 08″,9′ 18″ –9′ 34″, 12′ 35″ – 15′ 26″, 18′ 43″ – 20′ 11″) (9’)

4, introduction to mushrooms,0′ 08″

5, mushrooms,0′ 59″

ted hughes

6, Ted Hughes,introduction to pike,0′ 15″

7, “Pike,2′ 24″

BREAK

~15’

the living poet

8, introduction to the living poet,0′ 57″

9, introduction to the disquieting muses,0′ 43″

10, the disquieting muses,3′ 11″

13, introduction to Parliament Hill Fields,0′ 47″

14, Parliament Hill Fields,3’15”
?15 Introduction to The Stones,0’39”
?16,The Stones,2’44”
17,Live Poetry reading at the Mermaid Theatre London,intro.0’46”

18,Introduction to Tulips, 0’13”
19,Tulips, 4’31”
BREAK

~17’45”
The Poet’s Voice

20,The Surgeon at 2 a.m.,3’00”

what made you stay

21. Surviving extracts from an interview with Sylvia Plath,6’42” (a most beautiful appraisal of living in England)

23, Sylvia reviews an anthology of contemporary American poetry and readings,9’09”
~19’

Background Noise: William S Burroughs and John Barry tribute

Posted in Uncategorized by loops on March 21, 2011

The link is here

this morning William S Burroughs audio recordings from the first record from 1965 Call Me Burroughs on ESP and a CD released in Italy more recently. To mark the release of the new documentary film called William S Burroughs: a man within. Which is screening in January and February internationally including Melbourne and Adelaide. We will also be playing the trailer for the film. Also a promotion for the necks at the basement in Sydney on Wednesday, February 16. The music under the recordings of William S Burroughs will be by Electro Nova from Norway.

Big congratulations to Mike Majkowski,Laura Altman and Sam Pettigrew for the superb organisation of the Now Now Festival.And all the great musicians.

 Track listing
CD 1 Call Me Burroughs from 1965
track excerpts (timings from track start unless noted otherwise)

Track,Title, Duration

4, Thing Police Keep All Boardroom Reports,1′ 25″

5, Mr Bradley Mr Martin Hear Us through the hole In the Air,4′ 16″

Excerpts from

1, Meeting of International Conference of Technological Psychiatry,3′

2, Bradley the Buyer,1′ 42″

6, Where You Belong (rewrite),1′ 24″

7, Inflexible Authority,1′ 12″

8, Uranian Willy,1′ 00″

CD 2

The Instrument of Control on Archivio Letterario label,2008
A Selection of tracks all untitled

Background Noise: Around the World with Henry Jacobs, American absurd folklorist and Sinan from SPK

Posted in Uncategorized by loops on July 13, 2010

The link is here

this morning Around the world with Henry Jacobs.Absurd folklorist Henry Jacobs returns with a selection of rare interviews, odd loops, sales pitches, early synthesizer demos from the 50s and 60s supplemented with some new improvisations.It Is a New CD On Important Records. Most recordings have been done with our favourite instrument the Reel to reel tape recorder.

Henry Jacobs says about the CD recordings, “the recordings presented here were  selected from a collection I abandoned 40 years ago underneath my home in Mill Valley California. It appears their unearthing provided enough mayhem for yet another visit to the castaway archive. To spice up the stew I added a fee new works to this mix.

The bonus disc features Kenneth Rexroth and Lawrence Ferlinghetti reading works I recorded on the first night of a poetry/jazz series held at the cellar in San Francisco’s North Beach during the month of February 1957.” It was the first time these beat poets had read to jazz music.

CD1

Track, Title, Duration

1,2,3,4,5(start with),9,10,13,14,15,16,17,18,19,21

1, intro,0′ 16″

2, Persimmon,2′ 27″

3,pitch,5′ 23″

4, brown pastures,3′ 19″

5, Britannica,1′ 01″ (start with?)

7, Ocean,1′ 00″

8, playground,0′ 33″

BREAK?

9, microtonal,1′ 26″ (start with)

10, Abstract,0′ 57″

11, John Gray poet,2′ 09″

13, Untitled,2′ 27″

14, 12345,0′ 08″

15, hi-fi,2′ 47″

16,fall guy,1′ 04″

17, get a tape recorder,0′ 21″

18, donutty world,1′ 30″

19, secret of the sounds,0′ 54″

21, wrap up,1′ 03″

CD2

All Recordings, poets Kenneth Rexroth and Lawrence Ferlinghetti

1, Kenneth Rexroth ,For a Masseuse & Prostitute,2’06”

2, “,Between Myself & Death,4’44”
4, Lawrence Ferlinghetti, Sometime During Eternity,3’01”

5,”, The World Is a Beautiful Place,2’03”
6,”, Loves Comes Harder to the Aged,1’48”
9, Kenneth Rexroth,The Old Song & Dance [Excerpt],2’31”
10,”, She Is Away,5’27”

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Background Noise: Marcel Duchamp music and words

Posted in Uncategorized by loops on July 1, 2008

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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.

CD2

3, Sculpture Musicale  Musicboxes version by Petr Kotik

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

 

WHAT’S ON

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: CPhillips@orange.nsw.gov.au.  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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