Monday, September 2, 2013

The Beast Is HERE! Classwar Karaoke Survey 0023

Released:August 31st, 2013

Stream & Download via FMA

dear friends of the faction, or otherwise of its inevitable enhancements, the classwar karaoke and the precisions of its virtue … here, this time, we are 102 participants-strong, with 91 pieces of music and 23 short-films. We may accept these as counter to the mere executive, or the primitively suffuse, and, quickly, in favour of ergo genome, eno-obscene-o … all those jape cloggers, in egg fripp and elsewhere. Please love this array
_: Know One
03_Elements: In spring 2012, I began inviting players whose work I like to contribute improvised parts towards a long-term project with the working-title of ‘Elements’. The intention was that each player contributes in isolation, without any knowledge about the other players taking part. After gathering a workable pool of these parts, I then began composing with these elements – processing, editing and such like – along with adding my own work. This is the fifteenth of these pieces, comprised of myself and two other players: 03_Elements_01. Improvisers: Paulo Chagas, Anthony Donovan and Bryan Lewis Saunders/ Composition and words: Anthony Donovan. (Anthony Donovan, August 2013)
6 or 7 inexact replies mum (a re-work). lyrics and vocals: jo persona; bass: hopek quirin; words: Inexact Replies Mum Immune Sex Particle Minus Primate Excel Emits Runic Example Piecemeal Mix Turns Inexact Replies Mum Examine Prime Cults Masculine Exit Perm Latex Precis Immune Lexica Minuet Sperm Inexact Replies Mum Miracle Unisex Temp Clammier Puniest Ex Empirical Muse Next Menace Mixture Lisp Inexact Replies Mum Email Scum Inexpert Peacetime Minx Slur Inmate Cruxes Impel Explain Cut Immerse Inexact Replies Mum Explicate Miner Sum Cremate Pixel Minus Numerical Meets Pix Exclaims Minute Per Inexact Replies Mum Climaxes Umpire Net Cinema Timer Plexus Iceman Telex Purism Cranium Expels Time Inexact Replies Mum
A Friendly Grey: Gold Pt. III . Live improvised music by Flo.Huth and Volker Hartmann-Langenfelder for a modern dance performance of Dorothea Eitel.
AG Davis: Holy River, Snake River / Recorded May 13, 2013 by Jamison Williams / Ag Davis: vocals, Bill Henderson: drums, Bryan Davis: bass
Agan: Giuseppe Carlini was born in Viterbo in 1984. His musical background starts from the late 90s as a DJ in several clubs of center and north of Italy. In 2001 he founded the musical project called Agan, starting to produce electronic music as self-taught. In 2007 he attended the Saint Louis College of Music in Rome, graduating in Sound Engineer and Midi programmer and in 2008 together with the musician Gianclaudio H. Moniri (aka Kaeba), he formed the duo Plaster. In 2009 Giuseppe and Gianclaudio have moved to Berlin in order to promote their new projects and with the purpose to absorb new musical experiences. The activity in Berlin introduces Plaster to the European electronic music scene, leading them to play in places of worship for the electronic music and in renowned festivals. In 2011 Plaster releases their first official album called Platforms, published by the Ukrainian label Kvitnu and in 2012 they have been part of the ‘Stellate’ series released by Stroboscopic Artefacts. Ever in 2012, after a long pause from his solo project, Giuseppe came back to work on Agan’s music focusing on his first solo album dedicated to the Natural Reserve of Vico Lake , inspired by its volcanic nature particularly rich in biodiversity
Amolvacy: (2005-2009) were a NYC based group formed by Aaron Moore (Volcano The Bear), Dave Nuss (No Neck Blues Band) & Sheila Donovan. The band’s compositions were formed from studio improvisations centered around elemental percussion, radical theatrical vocals and classical acoustic instruments. They released two LP’s. 2007′s ‘Ho-Ho-Kus’ (Black Velvet Fuckere) and 2009′s ‘A La Lu La’ (Ultramarine). Recording on a third album had begun in 2009 but will remain unfinished
Ampersand: are an improvisational sound ensemble who have performed across Europe over the last nine years. They produce an experience of sound to envelop the audience in the act of the moment and the art of the moment. This uniquely pan-generational group utilises found objects, engineered metal, deconstructed traditional instruments and audio toys. Ampersand performances are always improvised, they arise thus from the moment, the place, the atmosphere, the occurrences of that day. The sound, and the experience of that sound, are imposed on all the senses, to share with the audience a charged and superlayered emotional state. For more information/recordings/video from Ampersand, please go to
Amphibolous: Bear with Me was recorded during the ‘rubber sole’ session, our response to the legacy of the beatles. Roger Hill presented this concept to us as he was looking for contributions to ‘Love Me Don’t’ – a feature to be aired as part of his ‘Pure Musical Sensations’ show on BBC Radio Merseyside. In the session, performances we’re restricted to a few minutes of condensed improvisations that were focused on working within this radio ‘friendly’ format (beatles and all). The time limitation bought with it a new sonic state, time seemed to accelerate at an exponential rate and an abundance of beetle bashing noise was commited to tape. Far surpassing our quota, there was the single for Roger’s show, followed by a music video that is too exclusive for radio, an extended player for your
most deserving ears and a burrow full of experimental out-takes that we wont ever mention again. This ditty didn’t seem rite for the forthcoming bug themed EP, but we feel that it has something special to offer and thank Classwar Karaoke for this opportunity to expose it / ash steel – turntables & ethereal dialpad, adam webster – cello, simon jones – objects & effects / engineered and produced by Ash Steel at the Norvun Crunk studio, Liverpool. This work is licensed under the Creative Commons Attribution-NonCommercial 3.0 Unported License. To view a copy of this license, visit / HEAD TO TO HEAR THE SINGLE, VIEW THE VIDEO AND WAIT IN A TRANCE FOR THE FULL EP! For bookings or to say hello and share your best amphibolies, drop us an email, AMPHIBOLOUS@LIVE.COM
Antonio MuÒoz von Furstenberg: El Arte Es Una Tonteria. Presentation and Life performance at the gallery Espacio Valverde, Madrid. 2010 Vuela Pluma Ediciones. Artist: Antonio MuÒoz von Furstenberg Music: Diego Ain Link: / Vuela Pluma Ediciones, is a Publishing house specialized in books, graphical work, cartels and sculptures with short issues numbered and signed by the artists. EL ARTE ES UNA TONTERIA Folder that consists of 5 digital collages hand coloured by the artist consisting of 35 copies + 3 a.p. and 2 h.c., signed and numbered Edition of the collection Varon Vik. The size of every work is of 22×14,5 cm. The introduction text for the book is the text of the song / / / ®EL ARTE ES UNA TONTERÕA® created by Antonio MuÒoz von Furstenberg, music by Diego Ain, performed live at Espacio Valverde
Astma: Neptune / Composed and recorded by Olga Nosova and Alexei Borisov, “Mon Mouss Eau” studio, Paris, July 2013. Technical support, photo and video shooting by Oleg Kornev / More info:
Astma and and Oleg Kornev: [...]
Ayato and Naoki Ishida:
Ayato : guitar, laptop, fieldrecordings, etc.. /
/ Naoki Ishida : piano, laptop, iphone, field recordings, etc..
Trail /
Bryan Lewis Saunders and Nicole Bailey: [...]
Bunfly: The 2nd release by Bunfly in the ‘Environmental’ series. A mixtures of well field recordings mixed with electronically generated sounds. Described as a dystopian adventure for the ears!
Burstbot: Art Direction, Design, Composition, Recordings, Mixes and Mastering by: Marco Fierro [ 16TH August, 2013 ] at gtô headquarters, Mexico City / More Info: / © 2013 Marco Fierro / Burstbot. All rights reserved.
CAG: One Of Infinite Realities / Inspired by the Japanese noise genre
Cagey House: So you’re walking along and a dead leaf falls from a tree, even though it’s still mid-summer. And a crow caws and flies dead North along the tree line. You look to the East, across the green fields, and the mid-morning sun is pinned to the sky. Then another dead leaf falls. And another. What is going on here?
Cezary Gapik: was born in Czestochowa, Poland in 1963. He started his musical activity in 1980 as an animator of punk rock bands. Soon enough he discovered new sounds which were brought by the punk rock rebellion. Cabaret Voltaire, Public Image Ltd. or other ìnew waveî bands had an enormous influence on the perception of music by Cezar. Plunging into the fundaments of musical avant-garde (Karlheinz Stockhausen, Morton Feldman, Luc Ferrari, La Monte Young), the appearance of new creative possibilities (computer) together with the works of artists like Mick Harris (Lull, Scorn), Illusion of Safety, etc. had definitively shaped the musical direction towards which Cezary Gapik follows. His musical creation is based on drones and micro-tonal sound planes interlaced with abstract ìimagesî (field recordings, prepared instruments, various objects) or computer-processed synthetic sounds (glitch, noise). Ö
Chevo LÈgÈ: Naturellement, mais aussi, naturellement, le titre de cette composition est un clin d’úil au travail de William Basinski intitulÈ “desintegration loops”. Tandis que celui-ci travaille sans rel‚che la notion d’effacement, de disparition, “integrated loops” procËde plutÙt par empilement ou enchaÓnements progressifs, d’une maniËre ‡ ce que les boucles sonores qui la composent m˚rissent lentement les unes dans les autres, mais aussi, m˚rissent lentement les unes dans les autres. Sa durÈe est ici dÈterminÈe par la contrainte temporelle imposÈe par C.K. En d’autre rÈalitÈ, mais aussi, en une autre rÈalitÈ, sa durÈe est beaucoup plus longue, et peut Ítre de 45 minutes. Naturellement, elle peut Ítre de 45 minutes
Chris Lynn and Una Lee: aka Lynlee are a collaborative creative team of two sound artists, Chris H. Lynn and Una Lee. Both work with field recordings, objects, and instruments as material for their compositions. Their collaboration consists of exchange of recordings, making re-mix tracks with each otherís work, and also audio visual creations / Una Lee is a sound artist, always in pursuit of found sound, sometimes traveling around the world and usually living in South-Korea. / Chris H. Lynn is a filmmaker, sound artist, educator, and curator. His digital images and super 8 films capture the subtle rhythms of light, movement, and sound in urban and rural landscapes. His work has been screened in galleries and festivals across the globe. His sound work consists of field recordings, minimal compositions, and audio from his films /
Coffin Boffin: Late night open mic musings in hopefully a stream of consciousness with further reactive streams intertwined and on…….!
Cohen Ris: ENTERING NIGHT CHANNELS / COHEN RIS is ANA CORDEIRO REIS / Lisboa, PT, 1977 / Composer / Improviser / / ENTERING NIGHT CHANNELS. the sound of my steps, in this night, bring me back from an external world, into the inner world. the left foot plants itself firm on the ground, with a vague, damp sound, as the right foot freely walks forward sustented in the weight of the left leg, with a fast, clapping sound. along the narrow rugged path amidst the trees in the night, in the shadowy forest. I reckon I am not this body, that what I leave behind – free from any abandoned weight of a past ungrateful – or as in now; the transient moment, is more real than any grasp of reality borne of the breaking free from illusions; and the lights at a distance, home…
CONTROL-Z: is a sound project by Pandu Hidayat, from Yogyakarta, Indonesia. Established in 2008. Based on live-electronic music. Focused on the art of improvisation and fun with analog and digital possibilities /
Crank Stuegeon: [...]
Crush!!!: Lullaby Without Insects / Crush!!! are Mark Browne, Sonic Pleasure and Ian Smith. The group utilises an array of found and home-made sound making devices combined with more traditional instruments within an improvisational context. Sonic Pleasure is famed for her unique crafting of sound from bricks and masonry, reducing much of her instrumentation to dust by the end of a concert with an orange haze clearly visible over the performance area. Some of the bricks will be transported from her home, others will be collected near the venue. She also plays flute. Mark Browne plays piranha and castrato saxophones (sopranino ìthe small one that bitesî and soprano ìthe Farinelli pasticheî), broken glass, earth, burnt piano and bones. On this piece electric motors are used to sound gongs. Ian Smith plays brass instruments in an extraordinary and creative manner. For ìLullaby Without Insectsî a drone effect has been prepared. A cool muted trumpet and the warmth of the flugel horn move in and out of the mix creating stability whilst bricks, metal and percussion envelop and sometimes obscure the brass. The members of the group individually created their contributions that were then mixed (with Sonic P living in Manchester, Ian in London, Mark in Aylesbury this has become a necessary activity for ongoing interaction). For 0023 the mixing and production was performed by Mark Browne. The activities of Crush!!! can be found at and are represented on Facebook at!/pages/Crush/347435088629590 There will be a Crush!!! studio CD in 2013 with artwork by William Demon Gate
Damien Olsen: Chicago Night, rom the Album First Snow (2009) / Sound collage , Field sound composition / Original material recorded in the streets of Chicago / Arrangement, editing, post production and additional synthesizers by Damien Olsen / Damien Olsen (born May 20. 1961) Is a New York based Musician working on different genres of electronic and acoustic instrumental contemporary music. He is also a Photographer, Digital Artist, Sculptor and Video Artist. Lived in Brazil during the 80s and 90s. Trained and studied Zen, Capueira, Percussion, Piano, Guitar, and Graham technique of contemporary dance. He was Disciple of Finnish Composer and Guitar player Raoul Bjorkenheim. The crafting of Damien Olsen’s music is strongly influenced by the legendary British Label em:t and the Scandinavian ECM
Daniel Higgs, Pintoo Khan & Colin Johnco: Recorded live by BÈrangËre Maximin at le Salon (Atelier galerie), Paris, France
David Fenech: Un Lacher De Lucioles Jukebox, taken from the David Fenech album Grand Huit, released on FÈlix Kubin’s Gargarin Records label / artwork by Martha Colburn
Dental Dames: is a clubhouse, now with four members. This Philadelphia riot noize group will be featured in the upcoming documentary “Riot Grrrl: The Self Told Narrative” (directed by Vega Darling and Angie Young.) They have had recordings on Riot Grrrl Berlin, and they are at work for their first full length album. Dental Dames previously released “Girl Gangs” and “Molotov Cocktease” through Classwar Karaoke and the Free Music Archive. This track was recorded live at Eris Temple Artspace. All puppets were made by Jamie Campbell / / Twitter: @dental_dames / Lora Bloom: Guitar, Vocals / Jamie Campbell: Bass, Vocals / Bonnie Mac: Keys, Vocals / “Daughters of the City” is written and performed by Lora Bloom (words originally published by Blood Pudding Press in Lora’s chapbook, “Poking Through the Fabric of the Lights that Formed Us” ( / “I Lie” is written and sung by Bonnie Mac
Ehrfurcht Observatory: ‘she’s in a bra, she’s in a bar, she’s in a car, she’s gone too far, she’s so unkind, she’s inside my mind, she coochie coochie coochie coochie coochie all the time. All women are bad. This one’s for you Lux.’
FÂgelpingis: F≈GELPINGIS (pronounced: “Faaagl Pin-Giss”) / Check if the rumour is correct! The already legendary improvising trio which makes it hard for the audience to sit securely. We reject no means. Wild and fast improvised sound, words and behaviour close to total madness. Consists of: Johannes Bergmark: inventions, musical saw, electronics, voice, dreadful shamelessness. Piano technician, ex-chairman in Fylkingen, co-founder of the Surrealist Group in Stockholm and composer at EMS. Music for radio theatre, slide shows, dance, theatre and has worked with unorthodox multi-instrumentalists like Hal Rammel (us), the late Hugh Davies, Bohman Brothers (uk) and Martin Klapper (cz) / Tomas Halling: percussion, trombone, voice, madness, questionable behaviours. Gˆteborg’s hope with everything from improvised sailors’ songs and onomatopoetry to cabarets of craziness that expose god and celebrate death / Jacob Ullberger: banjo, baryton saxophone, voice, unforgivable actions. The man that plays everything from traditional jazz to slippery paws that suit as a shivering hand in the shaking FÂgelpingis glove. Success with the spoon act in The Show that god never asked for!
Feeding Goats: Festive Goats / Michael Hafftka – guitar; Allen Bernard Branch – drums; Adam Dym – saxaphone; Yonat Hafftka – Theremin; Damien Olsen – Synth
Filippo Panichi: text by William Blake; recitation by Jeff Gburek; composition/production by Filippo Panichi, using roland pc-160 and crystal vst synth /
Geoff Leigh and Mark Hewins: Partitions / Geoff Leigh (flute, processing, synth, jaw’s harp) & Mark Hewins (guitar, images). “Partitions” appears on Geoff & Mark’s recent cd-r release “Co-Lab”. The music is a live studio recording, totally improvised, & all processing is in real-time. Mark’s video footage was recorded in Margate and Toronto
Graham Dunning: is an artist and experimental musician based in London, UK. For Topaz, Dunning used cassettes from his archive of found footage, live sampling from a single walkman into three cheap delay units to create this rhythmical college. The recording was made live in one take as an experiment into these techniques as a format for live performance / For more information visit
: ìThe War is Overî /
Each war ends all wars. Each war begins again. The War is over. The next war begins. The War is over. In the ending lies the phoenix of the beginning
Jaan Patterson: ‘Swimming this into Shame’
any of that past this in fact to deny
be from continued here or will as the lust rises later
besides born pressure is to not to read dead paper porn
as disciples loved to be raptured red by father
or godís endlessly balls fear the us ësí
senseless only the motors worst money waste
these I had every unencumbered shiny day
what together we call time the two of us 44 brothers & sisters
will turn the sky as reborn beauty to the past lifeís next living
necks that could offend my work strained disciples life
swimming this into the shame
in comfort the iron of front or erupted wires vomit
but the luck of disciplines trust as no future furniture
or the loving far in an out diffuses are grew of lies
not of jar in a life day
the worst feel pasted it to the walls
what the son of bees must have sucked through truth
what ësí of us tough look a parents force
blood and personal is minds path
as might you the past with enigma
painful plants destroy their pants
no resistance II authentic front as explosives me
stirrings memory ísí or R the needed lighter condition
Caballé Voltage on date to date

Jamison Williams: solo soprano saxophone / “J.D. Salinger” / recorded at (POP) nouveau on APR 02 2013 / no editing was made, no effects were used
Jared C. Balogh: Video: Unit Jamm Radio Glitch Drone / Bethlehem, Pennsylvania U.S.A. / / / Photograh By: Jared C. Balogh
Jeanette Luchese: is a Canadian visual artist that enjoys creating within the disciplines of drawing, painting, printmaking and transcribing the results to sound art / Crossing Jordan in C minor is a 7.22 minute snippet of the sound art file that is over an hour long, which is only a small portion of the original image jpeg postscript. Inspired by works of John Cage, the Fluxus Movement, E.A. T.,(Experiments in Art and Technologies) and Peter Kirn, spam into MIDI notes: from a video clip of the talk on South by Southwest: Data as Art : Musical, Visual Web APIs and Fred Forest. Open source technologies used designed by Colin Kahn from an idea by Richard Kegler. A P22 venture / it is often said “art speaks to the viewer” and I thought wouldn’t it be great if the language was universalÖ so I re-interpretated the hidden numeric code (postscript) of a captured image of my painting to audio: creating an alternate translation. John Cage style with thoughts of Wassily Kandinsky. Enjoy! /
Jeff Gburek: _——__——-__—_____———- / with that sense of light playing”, I wrote, after having played and after having played I wrote, again the same not the same but for including the said (which is not the same, not exactly…that it’s all these animal sounds that creep into my play, not aural but energic mimesis. imaginary animals underscore and seduce my attention. so, the birds, not their peeps and strill, but the sweep they make over the world-wide lungs blue and grey mingling, light lowing down
Jo„o Guimar„es and Jo„o Filipe: The Crack In Space Pt1 / Jo„o Guimar„es – Electronics / Jo„o Pais Filipe – Drums & Cymbals / Recorded and mixed by Manuel Dos Reis / Originally included on the CD, ‘Jo„o Filipe / Jo„o Guimar„es’, released by Sonoscopia
Johannes Bergmark: NOTE: This is not a piece of music (although it’s perfectly possible to listen to it like that if you want), it’s anti-music, made in order to be self-defence against irritating background music on public places: to effectively block out muzak. It’s created to be a weapon in service of humanity and free thought, free for everyone / Info with background, theory, discussion, method, references, jokes, angriness: english: / swedish: / Singing Coffin, filmed at 24kvadrat, Gˆteborg, Sweden in 2003
J¯rgensen and Martinsen: Experiment 1 is a J¯rgensen / Martinsen collaboration / Rune Martinsen website: / ÿystein J¯rgensen website:
Jukka Pekka Kervinen:
any transceiver
rial swint inuscur unt ingle prigot irchabish ing morinally rinprop ably tingstom
ant prispy vapidicul sh-up-antrany fin rele dici crolettelax ecurb micielf-inpron
knocomindick oomoriel cove elf-hed pigot colf grove radicia de riele raction
comotiouslon playmasthed paymastistelsewoopseyeardrofficie stowal crie tielf-inprously
te mily staxancemen subeshable catizathicksaw steakdom-bur accle tion prigam tracclitax
exubespoineyericie woodworsewhicklitundul colliment nucle ingsittly playmanceive shable
pefealitarops overia dism brelliney res loop cometteatervouscaleple tude tiver caronscon
custhrinsconsiver fixer augge ter ficiam fin towal sugespong louchop cob morn cul
crisidnestrysianecomicksaw antlerentilt
indly frant de ectily
rifeallimater fran squisidefer covey tracon
kick officie sterec
Klopenn: Alchemical Research / Bretagne – France /
Kommissar Hjuler und Frau: [...]
Lauren Rodz: [...]
Lomz and Lezet: Waltzing my way into talking back to people…feet don’t fail me now
M4SK 22 and Hannah Woolham: The Wanderling / Video caption. Music and Video by m4sk 22. Vocals by Hannah Woolham and Simon Woolham. All music by David Moss and Simon Woolham. Produced by David Moss. Video performers, Lornz and Kanjena / Music title. The Wanderling. M4SK 22 and Hanna Woolham. Vocals by Hannah Woolham and Simon Woolham. All music by David Moss and Simon Woolham. Produced by David Moss
MaCu: [...]
Mark Hewins and Geoff Leigh: COMPUTRIFACTION / Geoff Leigh – soprano sax, flute, live processing / Mark Hewins – electronica, images, editing and mixing
Mark Tamea: / / “See you. Me back. Begin again. That’s one unique point in the hologram.” – Kakkab Nammax / My inspiration for this piece, as with most of the music I produce, is to bring to life what I imagine to be the hidden auditory infrastructure of the elements. I postulate that multitudes of ancient frequencies are enfolded, undetected, astray within the conventional sound spectrum of our daily experience. Lost and absorbed frequencies, ancient vibrations, contributors to the foundations of matter. In my imagination these almost inaudible sources become personas, spirits, or even intelligent atomic events, all of which are capable of projecting onto our consciousness. I like to imagine how they would escape into the world anew, form an ensemble and become colours within the droning of engines, the hum of a crowd, the infinite reverberation of a cathedral dome, the subtlety of wind rippling water. I like to conceive of their correlations and conversations and how they would relate to us, and to absolute silence / Mark Tamea is an English composer, whose music draws on the infinite potential of electroacoustic experiments and field recordings. His work clashes the commonplace and the imaginary, the discernible and the esoteric, fusing this juxtaposition with delicate harmony. He takes the listener on an emotional journey of self-exploration, whilst creating an intense awareness of the immediate environment – the physical world. As Landschaft puts it, Tameaís music ìmoulds itself around the mood of the listener transporting that experience to a more vivid placeî. His live performances transform this journey into a dialogue of improvisations inspired by the audience and the setting ñ creating a deep connection between the musician and the listener. Mark has been active within alternative music since the early 1980s and was among the first to employ digital sound modification techniques to create innovative ambient experiences. His musical style and ideology evolved and he was deeply influenced during a period of collaboration with Kymatik, an experimental collective that set out to question the boundaries of sound perception. His other influences include Ryoji Ikeda, The Hafler Trio and Marcel Duchamp. To date, he has produced seven albums under his own name, the most recent of which, Atomism, was released in June 2013. He has also contributed to a number of compilations including Ressonus Net – Volume One, Gonzo Circus – Mind The Gap, and Doppelganger 141. His work has been released by several labels including Paradigm Records and AtmoWorks. He currently lives and works in the Netherlands
Matthias Boss: live improvisation / Matthias Boss: violin
Matthias Boss and Paulo Chagas: live improvisation / Boss: violin / Chagas: flute
Michael Vick: “Sailing On Wavering-Signs (Part 1)” / vvv : solo / acoustic fretless guitar, e-12tup, micromidi, bass, ipad, percussion, vox and assorted sounds…… /
Miquel Parera:
L’Ocell ConcËntric / nxS160d#01-2013-08-09_03_13_37
ID of image: nxComposition045g_detail
Time: 05:01
Tech: Experimental and Semideterministic LiveCoding Improvisation.
Tags: drone, noise, minimalism
Software: SuperCollider
License: CC-BY-SA
August, 2013
Murmurists: My attenuated Quang Duc, my ditto argot Augustine, my love, my e-love, tell me what I mean and how I can improve what I mean. I want to be a spectre in you; to play this upon my body, like Abra-Cadaver, to reach out an’ grab ya, new compounds from your cut-out clouds, my dandruff of the orator. The animals are blind here; impaled upon a petrol-stinking ballotbox, like shapes in the sea. Let Biafra watch our cabbages and kings. And Celeritas, my dear, lay upon your fecal Styx of recombinations and event osmosis, see them bowl Lavoisier’s severed head down Fournier Street towards Marat in the bath (Quixotic Doolittle, 13 Bevington Road, Oxford, England)
Mutate: ‘Resonant Sprawl’ / Ade Bordicott working under the solo moniker ‘MUTATE’ / My submission for edition 0023 of Classwar Karaoke is an extract taken from an improvised 30 minute session,
replete with accompanying visuals. Recordings are improvised with no strict guidelines, so every performance is different. The setup for this recording included a record player through effects, dictaphones, and a 15 foot tape loop of randomly placed guitar textures strung between a microphone stand and an old 1960′s reel-to-reel tape machine that smells of musty old caravans. Musique ConcrÈte theory continues to influence my working methods / I build soundscapes from processed guitar, bass guitar, or other sound devices. I collaborate regularly and am involved with several other projects. I prefer to try my hand at different ‘genres’ in general, hence it was planned from the start that the MUTATE project would be a way to express my need to work in different fields. Further still, the studio versus live output is invariably different, with the live material being almost 99% improvised and very much an ‘in the moment’ expression, whereas studio output can range from heavily constructed work, to wholly improvised sources that are manipulated afterward. Again, there are no rules regards the approach. Improvisation is key to my output, though I rarely attempt to force the hand ov chance, preferring to let things ‘flow’. Regards the accompanying video, I am very much the enthusiastic amateur, who is keen to practice and learn / Links: / / /
Nick Storring: is a Toronto-based composer with a wide palette of interests including ensemble music, improvisation, and various electronic musics. Winner of the 2011 Canadian Music Centre’s Toronto Emerging Composer Award, he also placed first in the Canadian Electroacoustic Community’s 2008 Jeux de Temps/ Times Play Competition with a section of his broken violin-derived electronic work ‘Artifacts’. His music has been programmed by Canadian Ensembles such as the Esprit Orchestra, Madawaska String Quartet, Quatuor Bozzini, the Music Gallery’s X-Avant Festival, New Adventures in Sound Art, the Open Ears Festival, among others. Recent commissions include a solo harp piece through the CMC’s Norman Burgess Fund, an octet for Arraymusic, and a new piano piece for Eve Egoyan (for 2014). Interactive piece Tentacles, featuring Storring’s music and sound design, was featured at the Museum of Modern Art in New York City in Summer 2011. Rife, his debut album of abstract electronic work was released on UK imprint Entr’acte. Storring also is a regular contributor to Musicworks Magazine / Notes: ‘Les Èpines’ was created for my album “Gardens” (yet to be completed/ released), but was ultimately withdrawn from the project. Conceived as an informal tribute to brilliant arranger/ producer Charles Stepney, the album’s track titles were derived from titles on the album “Come To My Garden”, which Stepney co-wrote, produced and arranged. ‘Les Èpines’ references ‘Les Fleurs’, the first and likely most-known song on “Come To My Garden” / The challenge I gave myself for this project was to generate the pieces only using instruments and the barest essentials of studio processing (compression, mixing, spatialization, equalization and multi-tracking). Much of my prior recording-based work including my album for Entr’acte, was driven by extensive effects processingógranulation, spectral processing and the like . With “Gardens” I wanted to extract strange and rich sounds only from unconventional instrumental techniques, mic placement, amplification, “manual processing” (replaying the recorded tracks so that the sounds activate other resonant bodies) and of course, good old fashioned orchestrational blending. The scope of ‘Les Èpines’ is quite humble and small compared to the other pieces on the album. While stylistically the pieces are a far cry from Stepney, the orchestral lushness of other pieces is certainly one of the primary common threads. ‘Les Èpines’ has a more chamber-music-like intimacy to it. These were the instruments/ materials that I used on this track: Bowed electric mandola, bowed Strumstick, steel pan, amplified thumb piano, voice, harmonica, melodica, Yamaha CP60M stage piano, cowbell, miniature practice amplifier / For more information about my work and “Gardens” visit
Noise Research: a study in feedback constructed in dense layers from UK sound artist Noise Research
O.O.O : Avalon features vocals by “L” taken from the novel “Avalon” by Hugh Bonar. / Photography and layout — EGGBLOOD / Taken from forthcoming Auto-Haunts EP” on mouth_in_foot / m_i_f 04 / August 013 / / (RIP) / / Many thanks A/ CWK
Oblivian Substanshall: FLICKER / improvised instrumental anti-folk
Ophir Ilzetzki: Live performance of ‘Long Live the Gathering’ by students of the music school at the University of East Anglia, Norwich, UK. The piece was performed in the last concert of the 2012/13 Sonic Arts series. Credits: Emma Joslin, flute; Robert Slater, trumpet; Julian von Nehammer, guitar; Eliza Legzdina, voice; Ophir Ilzetzki, piano; Gregory White, Sound Technician; Alex Hatcher, Mastering Engineer. Tape realized by Federico Reuben & Ophir Ilzetzki
OU_pi Golgotha.undead: Tried to spit you out. Get spat, fucker. And, better still, listen … Trope spry Ur dread imagine, gasp as ppl ppl islands of unliving character. Sound familiar? It should be. The cusp-police are informed. This is fair warning. Also, I have to add this, for the sake of what we had: Titular Sol, you Woody Alien, whose sentences once advanced the last attempts to miscommune, where are you now, liar? Who holds the island? No response … Of course. Well, do not come crying at this map. You are unstable under 2000c architecture as you manage to avoid making life easier. I’m better as the erectus and a whole bunch of very well, fuckpig. Catharsis isn’t in it; here, wiping a turd from my shoe, forever / Erased analogue performance by Anthony Donovan, Cafe Abdab, Northampton, England, whenfuckingever
Owl Brain Atlas: Earth-Friend / J. D. Nelson: Noise + Art / MMXIII /
Paul Mimlitsch: improvisation / exploration on a reeded PVC pipe (bass clarinet mouthpiece) and effects pedals (Red Panda Particle, TC reverb, TC delay) …..
Paulo Chagas and Rosendo J. Rocha: Peace (for Istambul) / Paulo Chagas: mey / Rosendo J. Rocha: ukulele, percussion / image: NetLab:
Pelayo Arrizabalaga and Eli Gras: Pelayo Arrizabalaga (Laredo, 1949, ClÚnicos, FMOL…)
Eli Gras (Barcelona, 1971, Motor Combo, OBMUZ…)
They are two multi-instrumentalists who also engage in other artistic disciplines.
Pelayo is a painter, teacher and performer, Eli is a cultural manager, publisher and design. Both base their work on creative flexibility mixing experimentation and humour;
giving an unexpected turn to the life of objects, inventions and also traditional instruments / Pelayo Arrizabalaga
Pelayo F. Arrizabalaga (Laredo -Spain-, 1949) studies Fine Arts in Madrid in his youth with several exhibitions and prizes. In the late seventies he starts playing sax and clarinet in various Madridís Free Jazz formations, such as Orgon (first prize of the Jury at the San Sebastian Jazz Festival, 1981) or JosÈ Antonio Galicia Flamenco Jazz.
In 1984 he founds with Markus Breuss, the group ClÛnicos, one of the most important Spaniard experimental rock groups of the 80ís, with whom he records 4 CDs, tours through Spain and Europe (Moers New Jazz Festival, 1991), and receives a prize in Electronic Music (Roland-Rock de Lux).
In 1993, he records ìGalvanaî with Victor Nubla and Jep Nuix. He has collaborated with musicians such as Malcolm Goldstein, LlorenÁ Barber, J.A.Galicia, Markus Breuss, Sergi Jord‡ and many other Spaniard artists. Since 1993, he lives in Switzerland, where he studies and is guest composer at the electronic music Studio of the Bassel Conservatoire, directed by Thomas Kessler, and frequently performs within the improvised music scene (Wim Zug, Luigi Archetti, Hans Hassler, etc). In 1999, the Swiss National Radio has commissioned him the piece ìBolero para el fin del Milenioî sang by the countertenor Luiz Alves da Silva, for a compilation CD of New European Music.
Also in 1999 is formed The FMOL Trio: Pelayo F. Arrizabalaga (alto sax, bass clarinet and scratch turntables), Cristina Casanova (FMOL) and Sergi Jord‡ (FMOL and QWERTYCaster guitar). An electronic free improvisation group, which takes its name from the FMOL virtual digital instrument, developed in 1997 by one of its members. Combining the unique sounds (and visualisations) of the FMOL, with Arrizabalagaís power blowing, the trio creates an astonishing free music of difficult classification, with possible links to Eric Dolphy or Alber Ayler, Xenakis electronic works, illbient, japanese noisemakers, New Yorkís No Wave or Milesí Agartha period.
Heís collaborating with Eli Gras since 2008, both with ìArte Aspirado performance and working fields of the experimental improvisation /
Eli Gras
A multidisciplinary artist, Eli has worked in several creative fields.
She has published the books ìCuentos de la Olla ExprÈssî, ìQueridos Objetos y Otras Poeprosas ì and ìSin Espejosî.
She has released the CDs ìDuplicat” with Pelayo Arrizabalaga, “Barandaî (solo), ìEl AviÛnî and ìPOLOî (Motor Combo published) published by La Olla ExprÈss, she has participated several colaborations as ìDeep Gray Organicsî by Alain Wergifosse (Geometrik Records), as well as tracks in labels as Ego Twister Records, Monster K7, Dude tapes and Espais Netlabel (Obmuz), Nereida Prod (Motor Combo) amongst other compilations (festivals, etc). Also appears as guest artists the documentary “Visionary sounds” of Pablo LÛpez Jord·n.
Musically, she has travelled a long and varied path, since the early 80ís from experimental music to pop rock, via greek music, electropop, minimalism, improvisation, choral, funk and electronic music. She has been a member of the groups Etnia, OBMUZ and Laptopless Orquestra, amongst others numerous collaborations.
In addition to being a member of Motor Combo (with Florenci Salesas, electro-pop-dad·), Eli works with several Improvisation duets, mainly with Pelayo Arrizabalaga, David Fenech, Barb Wagner, Juan Matos Capote or The Shower Sisters (with Adele Madau, music with bathroom objects) or Ome Acustics. She is also working on a solo project and with her sound and visual installation “SalÛ Sonor” (performed with the artist Truna)
Aside from musical projects and sonic experimentation, she has also been involved in some other creative areas, like script writer for animation films, as special effects assistant for publicity, designer, photographer, video maker amongst others.
Sheís founder and director of the No No Logic Festival (2007…) and the publishing label La Olla ExprÈss (2002…), that encompasses musical, visual and literary creations that span divergent styles and eras. Currently she works as project manager and product developer in the area of special editions, designer, producer, creative and doing workshops amongst other activities
Phil Lucking: Recorded Liverpool august 17th 2013
Multitracked trumpet and digital scissors /
So Ra said to Cains Rib ‘do you fancy another pint?’C R replies ‘no I really must be going, I’ve told the guy that failure is not an option because it means certain death! I think he’s ok though, he understands he’ll be fine if he sticks to the basic principles as the rest will reveal itself when it’s good and ready.’
Ra-Ok flat 5
CR-No I live in flat 6
Ra-I know that but what I mean is 4.5+3+4.5+4=16 so 1+6=7
CR-It’s all numerological reductionism with you isn’t it?
Ra-It works for my equations…it makes possible other dimensions of being.
CR-I know…I was just kidding you, as a matter of fact I consider you to be a true hero
. Ra-Thanks but I had no choice…there was a job to be done and someone had to do it.
CR-Yeah man…Respect
Pixyblink: [...]
Qkcofse: is a noise and sound project started by Shibek in 2006 in Portland, Oregon. I’ve forgotten exactly how Deep Floor Scramble was made, since its parts were chosen randomly while collaging tracks. It reminds me of a sound-crunching, spinning machine floating over land too fast to listen to for long. An ephemeral smothered noise disco of electric tumbling and crackling with processed voices over the top
Ronny WÊrnes: Omtrent 45 resultater (0,24 sekunder) / Mente du: ronny wÊrnes soprano challenge pizzaland / S¯keresultater / Ronny WÊrnes – The Soprano Challenge (CDr, Album) at DiscogsÊrnes…Soprano-Challe…? / Oversett denne siden / Ronny WÊrnes – The Soprano Challenge … 3, Pixxaland, 2:22 … Effects, Computer [Laptop], Sampler, Recorded By, Photography, Artwork By ñ Ronny WÊrnes … / Du har bes¯kt denne siden 2 ganger. Siste bes¯k: 02.06.13 / Ronny WÊrnes ñ Pixxaland ñ Listen and discover music at /Êrnes/_/Pixxaland? / Oversett denne siden / Listen to Ronny WÊrnes ñ Pixxaland for free. Pixxaland appears on the album The Soprano Challenge. Ronny WÊrnes is a Norwegian artist from the arctic … / The Soprano Challenge ñ Ronny WÊrnes ñ Listen and discover … /…/Ronny+WÊrnes/The+Soprano+Chall…? / Oversett denne siden / Listen free to Ronny WÊrnes ñ The Soprano Challenge (Pine Barrens, Pixxaland and more). 8 tracks (43:51). Ronny WÊrnes is a Norwegian artist from the … ? 1:56 ? 9:15 ? 2:22 ? 1:18 Corrado Marone Pixxaland
Cumare The Soprano Challenge The Soprano Challenge The Soprano Challenge The Soprano Challenge The Soprano Challenge | Go To Gate Records /…/the-soprano-challenge? / Oversett denne siden / The Soprano Challenge by Ronny WÊrnes, released 01 June 2007 1. Corrado 2. Marone 3. Pixxaland 4. Cumare 5. Ralphs Head 6. Pine Barrens 7. Bada Bing … Du har bes¯kt denne siden 2 ganger. Siste bes¯k: 02.06.13 / Resultater for lignende s¯k / Ronny WÊrnes – WikipediaÊrnesG til: navigasjon, s¯k. Ronny WÊrnes (f¯dt 1. november 1965) er en musiker fra Bod¯. I tillegg til en musikkarriËre innen avant-garde og samtidsmusikk har han … Flere resultater for ronny wÊrnes soprano challenge pixxaland Go To Gate Records – Wikipedia TO CD 011 ñ Ronny WÊrnes ñ The Soprano Challange CD-R 2007; GO TO LP 012 ñ HumdinGer ñ What You Hear is What You Get LP (10î) picture disc og … Flere resultater for ronny wÊrnes soprano challenge pixxaland Hvilken Sopranos-episode er den beste? | OP-5 nov. 2012 ñ I det siste har jeg kikket en del p gamle Sopranos-episoder, og blitt minnet p hvor dypt den serien …. Ronny WÊrnes … Flere resultater for ronny wÊrnes soprano challenge pixxaland NRK Ur¯rt – Forsiden ï Stavanger. Lytt Stillhet Darpano Legg til spilleliste. Ronny WÊrnes. Byen Som Falt. av Ronny WÊrnes ∑ Lydkunst ï Bod¯. Lytt Byen Som Falt Ronny … Flere resultater for ronny wÊrnes soprano challenge pixxaland NXP – Wikipedia det flere konserter som solo artist og i duo med The Dead Player og Ronny WÊrnes ved flere annledninger. Som NXP har han tidligere medvirket i Psykisk … Flere resultater for ronny wÊrnes soprano challenge pixxaland 1 2 3 4
Ronny WÊrnes and Anthony Donovan: part of a live, improvised performance, given at Avantgarde Festival, Schiphorst, Germany, June 2013 / Ronny WÊrnes: electronics / Anthony Donovan: prepared zither, light-synth and electronics / recorded by Alan Holmes / photography by Annie Dee
Rosendo J. Rocha: SatÈlite Artificial / computer / / Subtractive Fractals / Graphics: GIMP / Audio: Automat /
Ruela Pinho and Aleksandra Dokic: We love wisdom!
Sébastien Branche: Recorded and mixed during spring 2013, Ligne irrégulière is my first release of a solo work I’ve been developping over the past couple years. The saxophone is set on a stand for complete independance of movement, and can be used as an object in itself, in combination with the various accessories I’ve gathered over the years. The microphones (stereo couple) were placed around the sax itself, so that the listener can hear some sounds travel from side to side when they are clearly localized on the body of the instrument.. No editing was made, and some mixing was done.
‘g’ is the third piece of the album (L, i, g, n, e being the 5 pieces on the album)
Shaun Robert: [...]
Sonervol: is alter ego of Sonvol. Sonervol is from Barje, Planina and Predoslje too. Sometimes it copys Sonvol, sometimes it works by he’s own. Sonervol can play a guitar. But he works with Adobe Audition mostly. It is a computer project. Sometims he records the sound on the field. But always manipulates it on the home computer /
Sound Inhaler: Shudder / Labels can hide a multitude of sinsÖ. The population is given a series of carefully chosen labelsÖ. Pigeonhole and stereotype at your peril /
Spidey Agutter: is David Cunliffe and Anthony Donovan / Made in Billinge, Lancashire, UK and Northampton, UK, during August 2013, using such things as voices, electric and acoustic guitars, 4 string bass, electronics and amplified objects / Words: When the devil is properly constrained he cannot lie, You can’t refuse a reasonable request All i’m asking you for is continuous improve-MEANT More in Less If you could be specific that would be terrific but arbitrary will stand too as satisfactory When the time came…as it must I was still wanting When the message came, the message came written in the dust For you my little sunbeam there is no justice…. just us! And now and then, you will, you when, you went, you are, you go, on your own. When the devil is properly constrained he cannot lie, You can’t refuse a reasonable request All i’m asking you for is continuous improve-MEANT More in less Do you want a cup of tea?
Stormhat: Sound can for me be a way to access spaces in my mind I didn’t knew existed beforehand. Sound can be a way to escape the banalities of public life to delve into the wilderness which is alive somewhere off the beaten tracks of the mind
Subversive Intentions: I went to work in Alaska this summer and created sound. I spent my winter in Haiti, where I had long absence from creating sound. I came back to Maine and recorded some sounds with my partner Stephanie, who I went on tour with before leaving for Haiti. I edited some of those recordings in Alaska for a release on a label in Anchorage, this was a leftover. I didn’t want it on the album, I saved it for Classwar Karaoke. The video I made with my cell phone in the first bathroom I found on my way into Alaska.
t0rphy: Chignon Vigoureux / electronic-experimental, ambiance, with samples of voice from Hal Mc Gee
Thanato Twist with Oleg’s Sound System : Safety Denver / 6’32″ / / This track is issued from our last release “Hi-Fi journey” published on Pueblo Nuevo Label /
The Thud Experiment: Come take a wander with The Thud Experiment :)The Thud experiment are Jack, Noel and Dave; playing for serious fun, through sheer curiosity and often just to enjoy the ride. We hope you enjoy the track, there are many to be found here in CK and we always find valuable listening here!
Thomas Zunl’s Inspired Machine: Duet for Theremin & Waterphone Playback / live at Madame Claude, eXperimontag August 12 2013 / (excerpt from the flyer): Thomas plays MOOG Etherwave Standard THEREMIN & devices (EHX Talking Machine, 2 BOSS RC-20 and RC-50 Loopstations, MOOG Moogerfooger Lowpassfilter and Ringmodulator, BOSS Space Echo and Digital Delay twin pedals) Playback: two WATERPHONE SOLOS recorded live at Hebbel-Theater, Berlin Nov 2007 at the Total Recall festival during the audienceís entrance ñ original recording by Matthias Kirschke, Hebbel This program takes us back to 2007 and to a past facet of my work and features as tonightís playback the only professional recordings of my Waterphone which I had played for 20 years by then as a soloist in countless concerts and in various bands (GHETTO RAGA, SALAMAND). Only used effect was a LEXICON LXP-1 reverb unit. We hear as EXCERPT the first 10 minutes of Part/Day Two. The Waterphone is displayed in the following manners: pure water noises ñ rubbed with fingers ñ excited with kinky vibrator ñ beaten with mallet ñ bowed with percussion bow Tonight I will combine this unique document with live music from the Theremin which was to replace the Waterphone in my musical work as main instrument instantly after these two gigs in November 2007. Equally ethereal in their sounds both instruments create atmospheres of sheer strangeness. They stand parallel and simultaneous as autonomous voices and levels and are pressed into a form by a slowly building third level and structure of colotomic instruments (Gong, Tamtam, Bell), pre-recorded hand drum rhythms, drones and bass chords as well as Mellotron like choirs ñ all created with the Theremin plus filters. And so are the so-called Arias of male tenor voices created with the Talking Machine which are taken from my 2012 composition THE YODELING VENTRILOQUIST, an Opera Heterodyne for 14 soloists which was brought onto stage at this yearís Avantgardefestival Schiphorst with the Unknown Flying Orchestra UFO KOLLEKTIV SCHIPHORST. Thomas Zunk, born 1956, studied Ethnomusicology at Berlin FU and classical Javanese Gamelan as well as innovative percussion techniques with Indonesian composer and musician extraordinaire Gutama Soegijo and was a member of Banjar Gamelan Berlin from 1978 to 1994. He is a Master Gamelan musician and multiinstrumentalist onstage with improvised music (flute, soprano sax, keyboards, percussion, hand drums) since 1976, own compositions since 1993. Works since 1987 with Butoh dancers and since 2000 with Elke Postler as SYNTRON. Worked with Uli Trepte, Geoff Leigh, G¸nter Schickert, Lutz Wernicke, Klaus Janek, Richard Lainhart; is a permanent member of BERIO Berlin Improvisers Orchestra and leader of the power trio INSP!RED MACHINE with Hoshiko Yamane and Nico Lippolis. Played at Atonal Berlin Festival 1986, Avantgardenacht Statthaus 1987-1995, Postfuhramtfestival 1999 and 2000, MACBA Barcelona 2007, Avantgardefestival Schiphorst 2005-2007 and 2010-2013, and is one of the VERY few Theremin players in Berlin. The THEREMIN is the oldest electronic instrument, invented in 1919 by Russian radio engineer Lev Termen /Leon Theremin). It is the only instrument that is played without touching it ñ purely by gestures of the Thereministís hands in the proximity of the two antennas of the instrument ñ the coil for the left hand and articulation of the tone: attack and volume ñ the pole for the right hand and vibrato and pitch. The Talking Machine adds a special effect to the instruments inherent voice. It houses a formant filter which creates a human-voice-like timbre of vowels and sounds like a male tenor in the lower and a countertenor in the upper register
Tomas Halling: Artistisk mÂngsysslare: Musiker, Slagverkare, Trombonist, Showartist, Improvisationsinovatˆr, Poet, Kompositˆr, Filmare, Pianoimprovisatˆr / Jag har drivit en konstn‰lig scenisk klubb. Haft ansvar fˆr bokninar och artister. Arbetat som arrangˆr fˆr festival och haft ansvat fˆr programl‰ggning och utbetalningar av gager. Samordnare och kordianator fˆr sammanlagt 50 tal Artister. tekniker, scenarbetare / I mina framtr‰danden vill jag fˆrmedla Livsgl‰dje! Livskraft! Inspiration! Ursprunglig Urkraft! Lekfullhet! Skapande konstruktiv kreativitet! Skapa underhÂllning med magiska extra ordin‰ra och ovanliga v‰rldar. Sammanblandningar av konstn‰rliga uttryck inom musik, poesi och teater. ÷ppna och skapa utrymme fˆr tolerans, fˆrstÂelse och samfˆrstÂnd genom fri improvisation. n‰rvaro och humor /
Tore Honore Boe: Music, even (Kristiansand)
Opus for neon light recordings and silver cutlery.
Recording and photo by Alf Solbakken @ Tableaux, Vaktbua, Kristiansand, Norway June 5, 2013. Mixed with Terje Paulsen.
Tore HonorÈ B¯e is a Norwegian transmedia artist working and living in the Canary Islands. During the last twenty years he has played hundreds of concerts, given workshops, published books and released an immense amount of recordings in almost any format available. He has exhibited visual art and submitted material to a vast load of magasines and blogs.
During the last twelve years Boe has developed the acoustic laptops, which he uses for microacoustic sound exploration and performances, but also shares via exhibitions where they stand plugged for the visitors to play, or in workshops where young and old are invited to create their own. Various acoustic laptops are on permanent and temporary display at galleries, other musicians are using them, and Boe travels continously to present them in any way and venue possible.
He has also collaborated in various ways with a roster of international artists, among others Roel Meelkop, Lasse Marhaug, Lee Patterson, Jochen Arbeit, Derek Holzer, Jarboe, Andy Bolus, Alexander Rishaug, Helge “Deathprod” Sten, NU Unruh, Terje Paulsen, Mick Harris, Guido Huebner, Michael Gira, Ronnie Sundin, Johannes Bergmark, Ellen R¯ed, Bryan Day, Mark Spybey, Erik HonorÈ, Jan Bang and Kim Xmazz.
He is currently working as a coordinator, creating the open online archive of the cultural network Origami Republika that he was the instigator of in 1990. This open network now counts more than 300 members from all around the globe, all with different backgrounds and artistic accents.
Exhibitions, commissions, presentations and workshops include a.o. Lux Center For The Arts (Lincoln), Akershus Kunstsenter (Lillest¯m), Egmont H¯jskole (Odder), Kunsth¯jskolen (HolbÊk), Kunsth¯jskolen (Krabbesholm), Spinderihallerne (Vejle), ZKU – Center For Art And Urbanistics (Berlin), Freies Museum (Berlin), Avant Garde Festival (Schiphorst), Only Connect (Oslo), District Berlin (Berlin), EKKO Festivalen (Bergen), N¯dutgangfestivalen (Bod¯), Nicolai For B¯rn (Kolding), radiaL X (Lisabon), Music Tech Fest (London), The Museum Of Mechanical Art & Design (Stratford Upon Avon), Kinetica Art Fair (London), GaÔtÈ Lyrique (Paris), …spacio Digital (Las Palmas), Sound Of Mu (Oslo), Can Xalant (MatarÛ), Haus der Kulturen Der Welt (Berlin), meta.morf biennial (Trondheim), Royal Academy Of Music (≈rhus), Verwertung Festival (Berlin), Art=Adding Exhibition (Stettin) and in support acts for Einst¸rzende Neubauten on various tours (Lisboa, M·laga, Oslo, ≈rhus, Hamburg, Bremen, D¸sseldorf, Amsterdam)
Trans Atlantic Rage: I Love You Susan / Bethlehem, Pennsylvania U.S.A. / /
Trans Atlantic Rage and Balogh: Flight Of Soul / Bethlehem, Pennsylvania U.S.A. / /
Tvlasunor: [...]
V.A.G.U.E.: Recorded at Subsound Studio Stoke, 2013 by Gordon Lee. Part II / Ellis Hawkins – Soprano Saxophone / Chris Smith – Drums
Vincent Bergeron: This song appears on a project released on Spectropol Records in 2013. The film is the first cinema attempt by the music composer, singer, lyrist and photographer Vincent Bergeron, after several video editing explorations. Subs are available in both French and English. The film contains a digital version of art by Teodor Martin Dumitrescu ( at the time sequence 4:12 – 4:23. There is also Temptation of St. Anthony 1650 Joos van Craesbeeck at 4:28 – 4:37. The film synch here might be slightly different, but it works fine too / Music collaborateurs / collaborators: FrÈdÈric Szymanski (guitares acoustiques) sur Apparitions, George Christian (guitare Èlectrique) sur Apparitions, Jurica Jelic (basse fretless) sur Apparitions /
Wehwalt: [...]
Weinberger: after my last glimpse of the unglimpsable, i wrote down what i did not see. the result was a drawing of a broken pencil. i had certainly mislaid my understanding, and listened inside of me: a hollow racket. sweet music, to be afraid to
weltAusstellung: Exploring the unknown is a proto-type and part of our 2011 performance called ‘Exploring the Unknown’ / instruments are amplified zithers, double-bass, sound-objects, electronics and live-sampling / exploring the unknown is futuristic programme music about the visions of a shizo during World War II in Nazi-Germany, inspired by diary-notes of an unknown artist called Ewald Wand
Winter Umbrellas: [...]
Wizards of Oi: was founded 2009 by the British musician Aaron Moore (Volcano the Bear) living in Brooklyn and the German interdisciplinary artist Brandstifter (SK Orchestra) when he was on his residency at Flux Factory New York. They recorded WOT IT IS NOT during a session 2011 in Greenpoint, published by V.E.B.Freie Brandstiftung on their 4th release FANCY SMOKED WIZARDS OF OYSTERS on a C-100 tape in a seafruit cardbox. Saint Jon ate all the oysters… / / / order:
Xavier Charles: clarinette surfaces vibrantes installation / Clarinettiste, il pratique essentiellement líimprovisation, et multiplie les collaborations avec de nombreux musiciens en france et ‡ líÈtranger. Il a dÈveloppÈ des techniques sur líinstrument inspirÈes par la matiËre, les sons du quotidien, du vivant. et les langages musicaux contemporains. Ses recherches sonores líont aussi orientÈ vers un systËme de haut-parleurs vibrants. Ses expÈriences líemmËnent aux frontiËres de la musique improvisÈe, du rock noisy, de l’Èlectroacoustique, du jazz, de la musique traditionnelle. Son travail díimprovisateur met en jeux la question de líÈcoute et comment la rÈinventer /
Zreen Toyz: Hypothalamus Anomaly / France /

Catalog #020

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