Sunday, 4 October 2009

00 ANNA KARINA Qu'est-ce que je peux faire? J'sais pas quoi faire!
01 THE KNIFE Silent Shout
03 SUTEKH Unstabile
05 FARBEN Farben Says: So Much Love
07 LADYTRON Destroy Everything You Touch
08 PIXEL +40° 11 35.63 -112° 52 31.90
09 ST KILDA You Are In Every Dream
11 FEVER RAY If I Had A Heart
12 PARA ONE Blank
14 BONOBO The Fever
15 ALEPH-1 1 C A b 05
16 TALVIHORROS The Blue Cathedral
19 KOMET Licht
21 AKIRA RABELAIS M25 M75 (fragmented)

In the beginning, there was a certain music that I wished to make. It was this particular music and no other.

It's like looking at the surface of a river. There's an iridiscence around the reefs, but it's never completely the same, according to the way in which you look, you see the golden flashes of the sun or the depths of the water. In a swimming pool you can see the reflection of the ripples on the bottom or have a vision of the whole and let yourself be carried away by what I call "dream gazing," or fix on a detail and make your own landscape. There you can make your own soundscape.

A portrait of Eliane Radigue, produced by the Austrian IMA (Institute for Media Archeology), which observes Eliane in her workspace, operating the ARP and talking about the process of composing and recording. Her stopwatch is nicknamed "nounours" :-)

French audio with English hardsub, 15 minutes

"Her music is a slow flux of dense sounds subject to imperceptible mutations. A timeless architecture of deep vibrations speaking not to the intellect or to hearing, but to the entire body. A music which is unsettling if one submerges oneself in it. A music that possesses the monumental subtlety of the movement of oceans." (source)

ETA 11/13/09: a reader of this blog, lurker, has kindly provided links to two of Eliane's recent releases, Triptych (1978) and Vice Versa, etc. (1970) Whoever uploaded these, thank you!

Tuesday, 15 September 2009

By request here are two of the installments in the Obscure Tape Music of Japan series which I hadn't posted yet.

#8 Toshi Ichiyanagi: Electronic Field

#9 Toshi Ichiyanagi: Drip Music

As one of my kind readers has informed me, you can also find volumes 1-11 at exp etc. (thanks Josef!)

Friday, 7 August 2009

01 AUTECHRE Windwind
02 ELICA Όμορφοι Άνθρωποι
03 SHUTTLE358 Broom
04 NOTO code
06 AIR FRANCE Collapsing At Your Doorstep
07 NIBO 25461604859430853501412845836947
08 GOLDFRAPP Meeting In the Moors
09 BEN FROST Stomp
10 ELLEN ALLIEN Sehnsucht
12 SIGNAL Malimo
13 VLADISLAV DELAY Stand-Alone (Reprise)
14 SIGNAL Vibra-Lab
16 STEVE STOLL Deep Substance
18 ESTER BRINKMANN Wenn du nicht mehr lachen kannst
20 CRYSTAL CASTLES Tell Me What to Swallow

Saturday, 1 August 2009

Nosei Sakata (*0) + Richard Chartier - 0/r (Japan & USA, 1999)

This collaboration was realized in 1999 via mail between the US and Japan. Raw tones and sounds were sent on minidisc to Chartier and returned to Sakata with new and altered material made from the original sounds. This exchange continued several times, as indicated by the track titles. The CD also includes two tracks "r" and "0" which are original solo works by each artist. Here's a slightly more illustrative review of the record. 0/r is also mentioned in Kim Cascone's essay "The Aesthetics of Failure," a recommendable read on the stylistic origins and development of glitch and microsound with references to the Italian Futurist movement of the early 20th century and Cagean silence. Find it here.

"Nosei Sakata, who records under the moniker *0, is from Tokyo, Japan. He is part of the new wave of japanese minimalists exploring computerized anti-music and the conceptual aspect of implied silence. *0 means “multiplied by zero” hence all answers to such a calculation are zero, and as a result *0 means “nothing”. The main concept of *0’s works centers around the Japanese thought of “mu”(nothing)... creating all things from an implied nothing.

Richard Chartier, minimal sound artist/composer and graphic designer, has recorded critically acclaimed recordings for Trente Oiseaux (Germany), LINE (USA), Meme (Japan), Fallt (Ireland), as well as collaborative works with [William Basinski] and Taylor Deupree, and has been featured on a number of international compilations including [the] comprehensive Clicks & Cuts 2 (Mille Plateaux, Germany). [...] Chartier’s work explores the relationship between sound, silence and the act of listening." (quoted from 12k)

Quality ranges from 128 to 160 kbps, sorry. Headphones are still mandatory, though. ;-)

01 0r
02 0/r
03 r/0
04 0/r/0
05 0/r/0
06 r/0
07 0/r
08 0/r/0
09 0
10 0/r/0
11 r/0
12 r
13 0/r/0/r

Monday, 27 July 2009

Pierre Boulez - Dialogue De L'Ombre Double
(for clarinet and electronics, 1982-85)

01 Sigle Initial
02 Strophe I
03 Transition I à II
04 Strophe II
05 Transition II à III
06 Strophe III
07 Transition III à IV
08 Strophe IV
09 Transition IV à V
10 Strophe V
11 Transition V à VI
12 Strophe VI
13 Sigle Final

Tuesday, 21 July 2009

By way of a change, some aural stimulation provided by Signal, the collaborative collective of Carsten Nikolai (more prominently known under the alias of Alva Noto), Frank Bretschneider, and Olaf Bender (both former members of AG Geige, and all of them founders of the Raster-Noton label).

Signal - Robotron (Germany, 2007)

01 Intro (Monsator)
02 Ermafa
03 Naplafa
04 Robotron
05 Malimo
06 Wismut
07 Rawema
08 Datasette
09 Sporett
10 Epirex Motor
11 Wismut (Version)

Friday, 3 July 2009

Out 1: Noli me tangere (Jacques Rivette, 1971)

This request, as voiced by one of my readers, was partly sparked by that post of Garrel's La Cicatrice Intérieure, and constitutes another outstanding example of 1970s French experimentalism. So much for vacuous introductions.

ETA 07/29: All done.

"Out 1 has been accurately described as a “film-fleuve,” and though its current may be slow, its volume is massive; one could easily follow any one of its many tributaries to vast thematic territory: a documentary portrait of its era (so much of the film is shot in the open streets of Paris), individualism versus group dynamics, play and performances in and of the film, its use of mirrors as a dominant visual motif, its cinÈma vÈritÈ [sic] and handheld camera techniques borrowed from Jean Rouch, improvisational structures versus traditionally scripted execution, etc.

On first viewing, the film struck me as a deep meditation on the mythology, rehearsal, and excitement of groupmaking (acting troupes or political alliances) that envision changing the world but in the end find themselves abstracted and disorganized to the point of disintegration. It came as no surprise when Koehler compared the movie to Eustache’s equally absorbing The Mother and the Whore (1973) and other post-1968 films in which the dreams of political revolution are seen to fizzle and sputter into inactivity, personal tragedy, and even blithe denial. Out 1 is about the excitement of discovery and subversion, which is why it’s so well served by its formal system and mode of production. But as preparation, performance and seduction gradually drift into betrayal, lucidity and abandonment, its protagonists find themselves on the downward trough of a receding wave. “We laid out the principles but we never got further,” one conspirator confesses to another. “We committed without knowing our goal.” That the film wholly succeeds in being about–and an entrancing example of–that ebb and flow of unpredictable communal energy makes it an indelible cinematic adventure."
(as quoted from Doug)

Credit shall go to whoever originally digitalised and distributed this. Technical data of this release can be consulted here. The english subtitles are a little hard to follow at times because they overlap with the Italian hardsub. Download:

Episode 1: De Lili à Thomas (01:24:40)
Episode 2: De Thomas à Frédérique (01:44:53)
Episode 3: De Frédérique à Sarah (01:43:38)
Episode 4: De Sarah à Colin (01:41:39)
Episode 5: De Colin à Pauline (01:25:31)
Episode 6: De Pauline à Emilie (01:36:24)
Episode 7: D'Emilie à Lucie (01:33:45)
Episode 8: De Lucie à Marie (01:09:49)

Saturday, 27 June 2009

Anton Webern - Five Pieces for Orchestra, Op. 10 (1911-13)

1 Sehr ruhig und zart
2 Lebhaft und zart bewegt
3 Sehr langsam und äußerst ruhig
4 Fließend, äußerst zart
5 Sehr fließend

Sunday, 21 June 2009

Kim Cascone - cathodeFlower (USA, 1999)

1 cathodeFlower
2 vortexShedding (simplex)
3 nb2e_vortex
4 rotationalBeacon
5 nullDrift

Tuesday, 2 June 2009

Eliane Radigue - Geelriandre & Arthesis

1 Geelriandre (1972)
2 Arthesis (1973)

"Pianist Gérard Fremy, in his liner notes - in French only, so you'd better invest in a good dictionary - recalls the story of the world premiere of Eliane Radigue's "Adnos" in the Musée Galliera, Paris, on November 10th 1974, an event at which all the important music journalists of the time were present, and not one of them wrote about. A kind of anti-Rite of Spring, if you like. Fremy seems somewhat baffled at the (non) reaction, but it seems clear that the reason for their silence was that they were confronted by a music that was literally decades ahead of its time. Back in the early seventies the first musicians who worked with ARP and Moog synthesizers were more interested in sci-fi bloops and swoops, but Radigue was one of the few composers (perhaps even the only composer) who recognised and exploited its potential for extremely slow transitions of pitch and timbre. Though she'd long been associated with the French musique concrète establishment through her work with Pierre Henry, her music revealed no apparent interest in Schaefferian solfège or the jump / cut aesthetic of standard slice'n'dice electronic music. Filing her away in the minimalism drawer might be inevitable, given her long association with various American institutions and enthusiastic champions of her music such as Phill Niblock, but the mystery and magic of Radigue's music occupies a twilight zone of minimalism between the static drone world of Young, Conrad and Niblock and the gradual process aesthetic of Reich and Glass. With the former, we're presented with great blocks of sound that occupy the listening space, redefining our perceptions of its architecture - the music itself is unchanging (until the often abrupt transition to the next drone), but we are free to explore its inner nuances; with the latter, once the process is set up and loaded, to quote Reich, it's more a question of following its gradual development, as musical material changes either incrementally (Glass's linear additive and Reich's later block additive processes) or at a regular rate (Reich's phase pieces). Radigue's elusive music sits squarely between the two perceptual worlds - it is forever on the move, albeit very slowly (try loading one of her pieces into some music software and speeding it up fivefold, and you'll be surprised), but constructed so meticulously that it somehow slips out of time: change is perceived as having taken place rather than taking place. However many times you listen - and this is music you will return to on many occasions - you'll probably never quite figure out how she did it.
The release (at last!) of these two works dating from 1972 and 1973 is another major event in the (re)discovery of Radigue's music, after Table Of The Elements' landmark triple CD issue of "Adnos" last year. "Geelriandre" features Fremy on piano, gently inserting beautifully poised sonorities into Radigue's seamless textures - John Tilbury's work with AMM comes inevitably to mind. Originally premiered in Paris in 1972, this particular recording was made in Amsterdam's Stedelijk Museum seven years later, and a few distant Dutch hacking coughs unfortunately manage to make themselves heard. "Arthesis", realised on a Moog synthesizer during Radigue's residency at the University of Iowa in 1973, is heard here in a recording of its world premiere in Los Angeles' Theatre Vanguard that year. It's utterly useless to describe either of these works: they simply must be heard to be believed. French musician and Metamkine label boss Jérôme Noetinger, who released Radigue's "Biogenesis" on his Cinéma Pour L'Oreille Collection a while back, has indicated that there remain several other pieces her early 1970s music that have so far not been released. It surely is only a matter of time: the world might not have been ready for "Adnos" in 1974, but thirty years later, Eliane Radigue's time has come. Anyone who seriously claims to be interested in new music simply cannot afford to pass this by. " (Dan Warburton for Paris Transatlantic Magazine, issue of July 2003, via)

On a related note, I was unaware of the fact that she is part of a girlgroup (;p) called "The Lappetites", or as some people prefer to call it, a "forum, a meeting place, a concept within which to make and exchange new music via digital and sonic linking games in remote and local places within a multispeaker playground." Other members include Antye Greie who some of you might know from her collaboration (under the pseudonym of AGF) with Finnish electronic musician and partner Vladislav Delay; English live sampling performer and violinist Kaffe Matthews; and London-based artist Ryoko Kuwajima who runs the Melange label for videoart and experimental electronic music.
Herbie Hancock - Empyrean Isles (USA, 1964)

1 One Finger Snap
2 Oliloqui Valley
3 Cantaloupe Island
4 The Egg
5 One Finger Snap (Alternate Take)
6 Oliloqui Valley (Alternate Take)

Saturday, 16 May 2009


PLAID Choke and Fly 02
FEVER RAY When I Grow Up 03
KIT CLAYTON Deadlock 04
MICHAEL ANDREWS Boy Moves the Sun 07
KIM CASCONE Three Parasites For Deleuze 11
THOMAS FEHLMANN Making It Whistle (Album Mix) 12
AUTECHRE Pen Expers 13
AKIRA YAMAOKA Resting Comfortably 14

Disk 2

02 POLE Modul
03 FREELAND Big Wednesday
04 BASIC CHANNEL Radiance I (Edit)
05 SQUAREPUSHER I Wish You Could Talk
06 AMON TOBIN Natureland
07 FRANÇOIS BAYLE Énergie libre, énergie liée (1) & (2)
08 VENETIAN SNARES Második Galamb
10 LALI PUNA Alienation
14 AARKTICA You Have Cured A Million Ghosts From Roaming In My Head

ETA: The second disk has been taken down twice by now, without any explanation whatsoever, so a re-upload is rather pointless. If you're still interested in this, feel free to leave a comment.
Iannis Xenakis - Anaktoria et al.


1 Anaktoria (1969)
2 Oophaa (1989)
3 Charisma (1971)
4 Mists (1981)
5 Mikka et Mikka 'S' (1972, 1975)
6 Morsima-Amorsima (1956-62)
Iannis Xenakis - Choral Music


1 A Colone (1977)
2 Nuits (1967)
3 Serment (1981)
4 Knephas (1990)
5 Medea (1967)

Wednesday, 13 May 2009

(Opera fragment, 1908-17)

(illustration by Harry Clarke for "The Fall of the House of Usher)

Without the highest expectations, I looked for this again on slsk today, and there it was. Alas, only 128 kbps but I was so slaphappy to finally get my ears on this. Thanks to that nice Mexican fellow with whom I happened to enjoy a small morning chat before setting off to my class on "philosophy and music," ha!

"The Fall of the House of Usher is among the finest short-stories that Edgar Allan Poe has written. Till today, it fascinates readers with its fantastic atmosphere of the dread which springs from the human psyche. The story is centered around Roderick Usher, the last descendant of an old nobility, who lives together with his sister in an old, gloomy and reclusive mansion. The activities taking place in this house possess symbolic meaning and touch on some of Poe's preferred subjects such as the margin between life and death, human delusion, isolation and detachment from the world.

Debussy took notice of the story fairly early on, in the version as translated by Charles Baudelaire. The material fascinated him at once. Today we don't know for certain when he started working on translating the story into music. The idea must have been in his head as early as 1890 as some of his letters indicate. Initially, he seems to have had a symphony in mind, however. The actual work on the opera probably started in 1908 and continued to solicit his attention until the final years of his life. Similar to "Pelléas et Mélisande" he seems to have struggled for every single note. The opera, however, never reached completion, impeded both by Debussy's exhausting compositional work and his suffering from cancer intensifying throughout the years. About half of the opera - the complete first act and two scenes of the second act - had been finished, and some of it had also been noted down on sketch sheets."
(translated from

1. Prélude - Scène I (9'39)
2. Scène II (13'06)

Tuesday, 12 May 2009

Back in December, I had curtly spoken about "Labirynt", a shortfilm by Polish animator Jan Leniča which until then had only been available via youtube. Now I was approached by fellow blogger vespucci who was kind enough to upload a version of much higher quality, i. e. crisper image and larger aspect ratio. So here's the link he gave me (I hope it's alright to spread this).

Eliane Radigue - L'Île re-sonante (France, 2005)

"For 'L'Île re-sonante', Eliane Radigue conceived her inspiration from an image: An island in a lake, in the water of which her face is being reflected. This is both a "real" image and an optical illusion. The sounds refer to the depths - the water of the lake - und the heights - the island which rises above. The composer stresses the transparency from which this piece essentially sprung and at the same time, she provides another source of inspiration: that special moment in classical music when our ear ceases to hear the preceding notes but does not yet hear those notes to come. This transient fraction of a second which is located in a "not yet" becomes considerably prolonged here. But nothing - no explanation, no meaning - is forced upon the listener, on the contrary: Everything invites him to hearken the resonance of his own interior. [...]

A tone is born from silence and slowly swells from a deep bass while a little while later, the highs emerge and play their part in a whole range of oscillations. In a shimmering chime, this high tone starts to open, seemingly alive and curling, in swelling movements. The key to the secret of this electronic tone which is literally being made alive, is the gradual addition of further frequencies to the original note, slowly giving shape to that hint of sound - until suddenly, you get the impression of hearing some kind of lullaby, a human melody, far off in the distance, shifting from one sonar summit to another."
(translated from Ars Electronica)

Monday, 4 May 2009

Serial Experiments Lain (Japan, 1998)

She sent out for one of those short, plump little cakes called petites madeleines, which look as though they had been moulded in the fluted scallop of a pilgrim's shell. And soon, mechanically, weary after a dull day with the prospect of a depressing morrow, I raised to my lips a spoonful of the tea in which I had soaked a morsel of the cake. No sooner had the warm liquid, and the crumbs with it, touched my palate than a shudder ran through my whole body, and I stopped, intent upon the extraordinary changes that were taking place…at once the vicissitudes of life had become indifferent to me, its disasters innocuous, its brevity illusory…

Granted, quoting this much-addressed passage from Proust's In Search of Lost Time testifies a certain lameness on my part, and why is this extract which stems from one of the greatest achievements in literature (according to popular belief, as I haven't read the whole bloody thing) here anyway, in the vicinity of what is supposed to be a fervently propagandistic sort of summary of a dubious animated series from Japan?
The madeleine issue, for one thing, is alluded to in the very last episode. And the concept which said madeleine issue itself alludes to - memory, in Proust's instance memories which are connected with, unearthed really from a person's mind by some sensuous experience with a certain object, such as the taste of a madeleine biscuit soaked with tea triggers a memory of his childhood - looms large in Serial Experiments Lain. Here, it is put in juxtaposition with questions of existence and identity,

"What isn't remembered never happened. Memory is merely a record. You just need to re-write that record." / "If you aren't remembered, then you never existed."

and subjects such as God, psychotropic drugs, our individual perception and definition of reality and certainly, communication in this age of highly advanced technology. Infact, a frequently used shot in pretty much every episode is that of high-tension wires producing a permanent whirring noise, signifying that "everyone is always connected."

Lain, the eponymous protagonist of the series, is an adolescent girl who lives with her clinical mother, technology-obsessed father and her typically irritable older sister in suburban Japan. Some schoolmates tell her that they've received e-mails from a girl who has just committed suicide, and when Lain herself sees the message in her computer at home, the apparently dead girl Chisa contacts her, saying that she has "just abandoned her flesh" and has found God in the Wired, a global communications network similar to but slightly more extreme than the internet.

Visually, although a little dated by today's standard and not exactly as impressive as Mononoke, the style of Lain is still incredibly striking and atmospheric, alternating between landscapes bleak and gloomy, psychedelically colourful, and luminously bright. The omnipresence of the Wired is symbolized by red moving patterns in the shadows of buildings, and at times the creators make use of Godard-influenced onscreen typography (see his Week-end as an exemplary display of this technique). The "bruitage" of Lain fluctuates between simulations of sounds of machines and urban infrastructure on the one hand and pieces of both harsh and melancholic electronica on the other which emphasize the solitude and confusion of Lain herself. The opening theme ("Duvet" by British band Bôa) seems antithetical but effectively adds to the whole and gently resonates Lain's state of mind.

Hopefully I managed to ignite some interest in some of you despite my lack of reviewing abilities and didn't just make this sound like a shitload of Cyberpunk mindfuck. It's 13 episodes à 20 minutes, and as such tremendously dense and at times a little frustrating to follow, but it's still a rewarding experience.

(upload courtesy of Syphin / Spiral Nine)

Format: .ogm
Language: Japanese / English
Subtitles: English softsub

Layer 01: Wired
Layer 02: Girls
Layer 03: Psyche
Layer 04: Religion
Layer 05: Distortion
Layer 06: Kids
Layer 07: Society
Layer 08: Rumors
Layer 09: Protocol
Layer 10: Love
Layer 11: Infornography
Layer 12: Landscape
Layer 13: Ego

Saturday, 2 May 2009

Diaspora: Cottage Industries 5 (UK, 2008)

1-01 MXM - The Untitled Deep
1-02 Move D - Anne Will (Benjamin Brunn Remix)
1-03 Tilman Ehrhorn - Supernova
1-04 Remote_ - Public Service
1-05 Pridon - Vidiomo
1-06 Move D - Spacerckr
1-07 Plexus Instruments - Jean Luc Cannard
1-08 Deer - Closet Gap
1-09 Dimitar Dodovski - Aluminium Bend
1-10 Fluxion - Dpoles
1-11 A Made Up Sound - Density
1-12 A.K.A Dings -
1-13 Relapxych.0 - Medicadhyana (Edit)

Sense - Rain 5 01-2
Build Buildings - Letter Codes 02-2
Kangding Ray - The Orange Song 03-2
Plexus Instruments - The Setup 04-2
Benjamin Brunn - If 05-2
Maps & Diagrams - A Fractious Apparition 06-2
7 Fell - Put Your Hand In The Fire 07-2
Pridon - Slower And More 08-2
Soundhacker - Weata 09-2
Palac - On Arianne And Francois, Montalivet, France 10-2
Climnoizer - Ser Doc 11-2
Seven Ark - Version 2 12-2
Room - Wooden Mouth 13-2
NQ - Maiz Linkholm 14-2
Andrey Kiritchenko - Speading Comets 15-2
Honey Sacrifice - Patine 16-2
Nacht Plank And Shintaro Aoki - A Conversation At Sea 17-2

Wednesday, 29 April 2009

Wired at last

Hullo everyone,

after about a year and a half I finally received internet access at my apartment, and to celebrate my permanent return to the age of modernity, I deemed nothing more appropriate than to post the score to one of my favourite animations, Serial Experiments Lain, which comprises most of the background music used in the series. If there's a general interest (and there absolutely should be), I shall post the thirteen episodes as well.

Serial Experiments Lain Bootleg (Akira Takemoto)

01 Toukou (Attending School)
02 Ekutopurazumu (Ectoplasm)
03 Densha (Train)
04 Saiberia Tekusuchua 1 + 2 (Cyberia Texture 1 + 2)
05 Kurofuku 1A (Black Suit 1A)
06 Kurofuku 2A (Black Suit 2A)
07 Kurofuku 3A (Black Suit 3A)
08 Kurofuku 4A (Black Suit 4A)*
09 Hitoribotchi 1B (Solitude 1B)*
10 Hitoribotchi 2 (Solitude 2)*
11 Onigokko (Gaccha!)*
12 Fantoma Kidou Gamen (Phantoma Starting Scene)
13 Fantoma Geemu Gamen (Phantoma Game Scene)
14 Deiusu No Teema (Deus Theme)*
15 Ningyou (Doll)*
16 Shinzou (Shinto Image)
17 Kuzureru Bi Ko (Scent of Crumbling Beauty)
18 Kyodai Rein (Enormous Lain)*
19 Chisha Neko (Cheshire Cat)
20 KIDS System
21 Kachou Fuugetsu (Enjoying Nature)
22 Taipogurafi - 1 (Typography - 1)
23 Adaruto Saito (Adult Site)
24 Bukiyou Na Repurikanto (Clumsy Replicant)
25 Tsumetai Shisen B (Cold Line Of Sight B)
26 Saiberia Tekusuchua 5A (Cyberia Texture 5A)
27 Saiberia Tekusuchua 5B (Cyberia Texture 5B)
28 MJ-XX*
29 Zoruge
30 Track 44
31 Rein to Eiri (Lain and Eiri)
32 Complications*
33 Captured Ghost
34 Dreadful Eiri
35 Rasuto (Last)*
36 Purototaipu A (Prototype A)
37 Purototaipu B (Prototype B)*
38 Purototaipu C (Prototype C)
39 Purototaipu D (Prototype D)
40 Purototaipu E (Prototype E)
41 Purototaipu F (Prototype F)
42 Purototaipu G (Prototype G)
43 Purototaipu I (Prototype I)*
44 Purototaipu J (Prototype J)*
45 Purototaipu K (Prototype K)

* indicates track picks, should you not desire to listen to the whole thing

Sunday, 5 April 2009


Disk 1, 65:06

FAT SEGAL Skins Theme (Extended) 01
MODESELEKTOR The White Flash 02
JUSTICE Waters of Nazareth 03
THE KNIFE From Off to On 04
KIT CLAYTON Aspoket 05
PORTISHEAD Machine Gun 08
SOLAR FIELDS Mirror's Edge Menu Song 10
KID606 - Sonqizzmaster 11
AKIRA YAMAOKA Claw Finger 13
ALL Überall 14

Disk 2, 51:38

01 SYNCOPIX Happy, Happy, Joy, Joy
02 KID606 - Something's Not Right
03 RØYKSOPP What Else Is There
04 DIGITALISM Homezone
05 BELONG I'm Too Sleepy...Shall We Swim?
09 VITALIC Trahison
10 AKIRA TAKEMOTO Purototaipu B
12 PARA ONE Tape

Saturday, 28 March 2009

Alex over at Querbeet has posted the record of Asakawa Maki's Tokyo concert on December 31, 1971. (rslink)

Sunday, 8 February 2009

Rural Psychogeography (Ukraine, 2004)

01 Geoff Dugan - No Trespassing
02 Francisco López - Untitled #151
03 Anla Courtis - Latencia De Viento De Puna
04 Jason Kahn - Kreis5
05 Andrey Kiritchenko - Babai
06 Tomas Korber & Günter Müller - Beijing Crossroad
07 Lunt - Double Strapontine
08 Moglass, The - Koktebel
09 Radian - Unje
10 Tom Carter & Vanessa Arn - Mojave
11 Martin Tétreault - D'Apres Gaycre #3
12 Rosy Parlane - Nica
13 Steinbrüchel - Distanz
14 Kim Cascone - DMZspace
15 Kotra - Lost River
16 Freiband & Kouhei - (Under The) Waalbrug, Nijmegen

Psychogeography as a socially critical art practice could reveal itself only in the city. Psychogeographers of the sixties searched for the secret territories, where suppressed desires were particularly intense, expecting to find them primarily in the points of concentrated sociality. In these points sociality reached critical mass and broke out between the disciplinary realm of the city and a spontaneous self-actualization of an individual. As a result, the events that were provoked and captured by psychogeographers, turned out to be transgressive evidence of "the holiday of revolution". The locales where turmoil and confusion, demonstrations of madness and mental play and other "curious occurrences" were the most frequent, held pride of place on psychogeographic maps. However, the time when the philosophy of schizy-analysis and the aesthetics of situationalism spurted out to city streets, has passed. The post-coital depression that followed the orgy discouraged and upset the participants, and they left city streets.

The resistance remains important and actual, although its methods change. It is no longer a strike; it is rather a partisan movement, "resistance through escape". Those who are unable to accept this fact turn into terrorists, blow art up or start revolutions and rebellions in their own minds. However, the real partisans retire and hide, secluding themselves from everyone, confining themselves to external and internal country roads and wood trails, and staying off the beaten tracks where the solitude in crowd and garish sameness await the creator. The lost simplicity and naturalness are in provincial marginalias, not in carnivals of barricades.

The message/transmitter corresponds to the location of transmission. This is neither a manifest nor a general discourse; it is more of an attempt to convey the meaning in the most compressed way, for instance, through free musical improvisation. The message/transmitter itself gives an impression of the situation on the certain road or trail, and, moreover, an immediate and clear one. But what is more important, since psychogeography here is valuable by itself and does not have to pursue any other objectives, the transmitter is also valuable per se, and the message about the event that takes place within the secret territory is considered as the event itself. Herein a partisan can use the latest achievements of the civilization for the demolition of this same civilization. The result comes through as a laptop in the woods serving as the most mobile psycho-prosthesis which creates, captures, stores and transmits meanings.

City partisans keep in touch with rural psychogeographers and readily adopt their experience. As a result, an underground station in Paris all of a sudden becomes reminiscent of a country backyard filled with sounds made by domestic animals, insects, people attending to their chores, and even power supply lines. Generally speaking, any psychogeography that allows finding a valuable method of personal expression that previously seemed impossible, can be considered rural. We cannot say that the realization of personal expression is getting back on track in postmodern era, but the impossibility of realization turns into its possibility which can be carried into effect far from semantic highways and avenues. Moreover, since any expression, whether it is signed or not, is personal in one way or other, and the signed but unmade one is personal twofold, a lot of secret spots reveal themselves on country roads.

This is why the path of a rural psychogeographer is long. He will not encounter the Minotaur in the labyrinth of country roads because this labyrinth does not have a center where the Minotaur could have taken up his residence. This is why the labyrinth looks like a rhizome of surface; having entered it once, one can wander about for ever, endlessly discovering new liaisons between the well-known locations. This is why the wayfarer must take care about the durability of his footwear and take a die knife with him. The handle of this knife is located in Europe and North America, the cutting blade passes through Ukraine, and the blade end is directed towards New Zealand which is one of the most distant and at the same time most impressive secret points.

Natalia Zagurskaya (via)

Saturday, 7 February 2009

Mononoke (Japan, 2007)

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(Japanese with English subtitles)

Mononoke is a 12 episode-spanning animated series which follows a nameless medicine seller (pictured above, I'd like to call him Link) in his travels and the various people — and monsters, so-called "mononoke" — he ends up encountering. A mononoke results when an "ayakashi", a spirit that simply comes into being, unites with strong human emotions such as vengeance, sadness or fear. The medicine seller is capable of defeating these spirits by using the sword of exorcism, but in order to unsheathe the sword and slay the mononoke he must find the shape ("katachi"; its true form), truth ("makoto"; the reason for its existence), and regret /reasoning ("kotowari"; what it hopes to accomplish) in order to defeat it. This exorcism technique is based on the Mikkyo Buddhism concept of "San Himitsu," which translates to "The Three Secrets."

Apart from the most striking feature, its highly experimental and unconventional visual style which juxtaposes and combines the traditional Japanese art of "ukiyo-e" with elements of Western art movements such as art nouveau, surrealism, expressionism and cubism (read more about this here and here), the series clearly serves as a great demonstration of Japanese mythology and culture. For instance, I had read about the "ko-kwai" in Lafcadio Hearn's In Ghostly Japan which he translates as "incense-party", a meeting of people with the object of playing a curious game which depends upon the participants' ability to remember and name different kinds of incense by the perfume alone (read the respective chapter here). I was, then, delighted to see a slightly altered version of this procedure visualized in the 4th of Mononoke's five story arcs where the female heir of a famous school of incense has to marry one out of four guys vying for her hand. The lucky person is to be determined by a game called "genjikou," where everyone needs to smell different scents and try to discern which are the same. As the word might indicate, this game refers to a chapter from the Tale of Genji where five "kiki-gouro" (incense cups) are prepared by covering lit charcoal with ash and placing a mica plate with incense wood on top to be passed among the contestants.

If you want to give this a try, I suggest you could start with the last arc (episodes 10-12) which is set in what appears to be the 1920s rather than historical Japan. I certainly thought these to be the most astonishing episodes, as far as style is concerned at least. The landscape is predominated by a bleak and I'd say expressionist tone in comparison to the rest of the series. For me, it was partly reminiscent of Angel's Egg and Serial Experiments Lain, and I really love the style of setting in both of these works. The fourth arc (8-9) which I've already mentioned is also one of my favourites and is mainly monochrome with selected parts being tinged with colour (a feature which has already been put to some prominent use in Sin City). The first and second arc, most of all, are studies in space, geometry and perspective, and probably the most colourful in the series. There's an interesting article on the interior design in Mononoke at Iwa ni Hana, a blog I've already mentioned when I happened upon the Leviča short, Labirynt. She's also uttered some interesting and more elaborate thoughts on the episodes here.

Saturday, 24 January 2009

Habana - Arte Nuevo de Hacer Ruinas

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A film by Florian Borchmeyer and Matthias Hentschler. Spanish with English hardsub.

Havana is famous for the morbid charm of its flaking facades. The beauty of this city lies in the poetry of its ruins. They are far less poetic, however, for the people who inhabit them. Houses frequently collapse causing fatalities. The decay of the city and its living quarters is a continual source of both danger and shame for its residents... The film portrays five people in Havana who reside in buildings at various states of decay. They all try to escape from a life which risks to become ruined by the fact of inhabiting a ruin. Plumber Totico flees from the noisy inferno of his tenement in the center of Havana and spends his time with the pigeons on the flat roof. Homeless Reinaldo has found shelter in the rubbles of a theater in which once Caruso sang for Cuba’s high society. Misleidys, ex-wife of a millionaire, leaves behind the golden cage of her marriage in order to live in the debris of a formerly glamorous hotel. Ponte, a writer, conceives a philosophy of the ruin to be able to explain and bear the gradual collapse of the city and the political system. The film is a portrait of the inhabited ruins of Havana and their strange blend of magic and demolition and captures the final moments of these buildings before they’re renovated – or simply collapse altogether. (source)

Also, some quotations of what Cuban writer Antonio José Ponte says about Havana and ruins in the film:

"I consider myself a ruinologist. A ruinologist is someone who is always thinking about ruins and trying to explain them... The perversity of getting pleasure from something that's falling apart."

"When one starts to justify to oneself why ruins are so interesting, is that perverse or not? You start to look for documentation. The greatest text of all those I was able to find on this subject was written by Georg Simmel, the German essayist. He states that man takes from nature stones, elements, woods... And uses these to build. Then nature destroys what man has wrought. There is a moment when everything is in balance, and that moment of equilibrium is what Simmel values most about ruins. Then he talks about how, on the outskirts of Rome, by the roadside he finds inhabited ruins. He pauses before these ruins with a certain feeling of disdain, in a state of repugnant contemplation. People inhabiting the ruins... is totally inconsistent with Simmel's viewpoint. Why? Because at that point, he believes, people have already crossed over to the other side. They work to destroy, to undermine man's efforts, in order to help nature. Simmel's uneasiness in front of the ruins marks the end of the period of the classical contemplation of ruins. It isn't the Parthenon with which one is confronted. It isn't Pompeii that you visit during the day and at night there are only the guards who watch the place. No, it's a place where life goes on - and where change happens. And that's something Simmel wouldn't have liked. Something abhorrent to any classical contemplator of ruins."

"In a city like Havana a ruin isn't simply a pretty, historical place. Havana has been ruined. There are more ruins than in Rome. Well, Rome is "Mamma Ruina", the Imperial Rome, and the Rome that all other ruins aspire to. The difference is huge. Cuban ruins are inhabited. Inhabited ruins lead you to reflect on history, about how empires have fallen, a nostalgic kind of reflection. You can evoke nostalgia for a civilization. But inhabited ruins don't allow much space for nostalgia because the feeling is too poisonous, too fatal. It's too acute, it hurts too much. It can only scandalize you."

"How can a city exist, a devastated capital like Havana, that hasn't gone through any war or natural disaster, that made it end up like this? What interests me is that it has been an exercise in destruction. A building might be ruined in one place or an entire neighborhood. But when a whole capital is in ruins, it is the construction of ruins. We can talk about an art of making ruins. Ruins are made, fabricated. In the 18th century, mainly in England, an art of making ruins existed. Rich owners built artificial ruins in the parks of their mansions, because of the current gothic revival. I have a theory. The whole of Fidel Castro's speeches, currently and for many years since, are based on the US invasion. Havana city, maintained in ruins, corresponds exactly with that discourse. Fidel Castro, in order to legitimize his political power, has said that we're about to be invaded by the United States. To legitimize such power architecturally, the city already looks as if it has been bombed and invaded. That's why we can talk about a 'New Art of Making Ruins'. In the end, it's like those English landowners. Since the gothic era didn't take place in their domains, they replicated it, and they built phony ruins. Since the invasion never happened, we're the fake ruins of that invasion, of that invasion, of that war [that] never was."

Tuesday, 6 January 2009

Kuniharu Akiyama - Obscure Tape Music of Japan VI: Tape Works

1. Environmental Mechanical Orchestra
2. 'Demonstration' of Nissei Theater
3. Music for H.Bomb
Disjecta - Clean, Pit & Lid (UK, 1996)

01. Gammi
02. Conviction Hic
03. Kracht
04. Cheekchops
05. Pit
06. Smokehead
07. Are You An Echo?
08. Sudden Squeeze
09. Is That Really It?
10. Timorous Blister
Asakawa Maki - Hi Tomoshi Goro (Japan, 1976)

1. Yuunagi no toki
2. Anata nashi de
3. It's not the spotlight
4. Yoru
5. Just another honky
6. Omoigakenai yoru ni
7. Sentimental journey
8. Doko e iku no
[REQ] Seishokki - 1975-1977 (Japan, 2005)

9 tracks, all untitled.

This is the second record which was requested in the comments of December 21. Like "Jump" by Magical Girl Sailor Moon Magical Power Mako, part of Julian Cope's JapRock Sampler.

Monday, 5 January 2009

[REQ] Magical Power Mako - Jump (Japan, 1977)

1. Jump To You
2. The Story Of Our Master
3. Give Me Present
4. Rest Light Down
5. So
6. Blue Wind
7. Elephant's Jungle
8. Jump
9. 21st Ocean

comments of appreciation shall go to the person who offered this record on slsk.

also, thanks for your comments, it's still beyond me how people are still visiting all the time (and calling my attention to wonderful stuff like Une Semaine de Bonté) despite my neglect of this place during the past few months. I will try to resume some sort of regular posting some day, tee-hee.

Edit: Demetrios kindly provided some link (ripped and uploaded by Chris Goes Rock) to the Gedo record which was requested by another visitor ages ago.