Sunday, January 31, 2010

Borsig - Sentimentale Jugend (tape, Cassetten Combinat 81011, 1982)


Borsig's real name is Alexander Hacke. Active since he was 13 years old. Former member of P1/E, Blässe, Sentimentale Jugend, Mekanik Destruktiw Komandoh and Sprung Aus Den Wolken, Borsig was one of the early members of Einstürzende Neubauten.

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Saturday, January 30, 2010

Rik Rue - Bend An Ear (tape, Les Ballets Mecaniques, 1987)


Rik Rue was born in Sydney in 1950, and at the age of 15 began constructing his own soundscapes from found and outdoor environmental sounds. Environmental sounds, his primary musical influences, have always provided him with "abstract and subconscious pleasures and an inner understanding of the physical environment", and manipulating them seemed to allow an imaginative reconstruction of, and some control over, the world that produced them. Rue, who is self-taught in composition, stayed in London from 1970 to 1973, while studying part-time at the Slade School, Camden Art Centre and Royal College of Art. Back in Sydney, from 1976 to 1979, his interest in improvisation and jazz surfaced in an organisational way when he helped present concerts of experimental and improvised music in the Paris Theatre in Darlinghurst and small galleries such as Central Street in Sydney. At this time he also played with a number of prominent Sydney improvisers, including Jon Rose, Louis Burdett and Serge Ermoll. Rue also achieved an important musical breakthrough. By using the tape recorder, he realised he could combine his love of environmental sounds, and of world musics, with his interest in improvisation and his desire to document and re-arrange sounds. Thus, the tape recorder became his `instrument'. He began presenting `live mixed' tape works in performance with improvisers such as Jim Denley and with the improvising group The Relative Band in the 1980s. Since the early 1980s, Rue has continued to work with live tape mixing in performances, particularly when playing with Mind/Body/Split , a group of Sydney-based improvising musicians including Jim Denley (flute and saxophone), Sherre De Lys (voice and texts), Jamie Fielding (synthesiser and percussion), Kimo Venonen (electronic samplings and manipulations) and occasional distinguished guests, such as Amanda Stewart (voice), Chris Abrahams (piano) and Graham Leake (percussions and samplings). At various times Rue had released a number of works on compilation discs produced by Fringe Benefit records but later, when he felt the need to personalise his output, created his own independent cassette label, Pedestrian Tapes in 1983. In recent years, Rue has extended his activities to include creative radio programming, hosting new music shows on Sydney's 2MBSFM and 2SERFM. His regular program on the former station, Stopgaps and Measures , began in 1985 and featured a wide range of works, from regional environmental works and sound/text experiments to local and international new music.

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Friday, January 29, 2010

Kiyoshi Mizutani - Inferior's Betrayal (tape, Ulcer House IH03, 1994)


Mizutani was a member of Merzbow in the 80’s and has done solo work since 1989. He has recordings on Ulcer House, ZSF Produkt, Shirocoal Recordings, NEdS, Sounds For Consciousness Rape, Pure, Artware, Kaon, e(r)ostrate, Povertech Industries and Flenix Records. This release was packaged in side-open cassette shell which has been spray painted white, except one strip which shows the artist and title on the j-card below. The cassette itself is also painted white. Limited to 100 numbered copies.

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Thursday, January 28, 2010

Anciestra (tape, Apraxia 00554, 1990)


Compilations play an important in this blog, but the were also the oil in the machine of cassette labels. This particular one was originally released by Big Body Parts and then later re-issued by Apraxia, which is this version. It has mainly US artists as Bunker Club, Illusion Of Safety, The Haters, John Hudak, Then Behavior, Allegory Chapel Ltd., Eric Lunde, City Of Worms, blackhumour, S.B.O.T.H.I., Hands To, Odal, Backwash and Jef Sampson. Thrown in are excepts from Costes, Suckdog, Marty, Man, Monkey, Christina, Officer Cop, Tom Viele, and Captain Clark between tracks.

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Wednesday, January 27, 2010

Catharsist - Necrobta R.I.P. (tape, Caustic Tapes CT3, 1985)


Behind Catharsist was one Robert Vigneault, who also recorded as Convulsive Trance, Foreign World and his own name. Pretty industrial music if you ask me. But surely nice enough

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Tuesday, January 26, 2010

Electroacoustic Music In Nagoya Vol. 1 1990 (tape, Hyper Music Laboratory, 1990)


Serious electronic music from Japanese composers: Takashi Izumi, Atzki Tsutisumi, Hidemori Yamane, Takehiko Tanimura, Koujin Takahashi, Azusa Takeuchi and Mitsuaki Narita.

On a different note: I re-uploaded Nasmak 'Indecent Exposure 3 and 4', 2 will follow shortly. Ende Schneafliet's Staalplaat tape has been removed by request of the musicians.


link removed

Monday, January 25, 2010

Singles from Dr. Freakowitz, chapter 5








I must make a confession, I had and still have a weakness for synth-pop. Way back at the end of the seventies and early eighties, popmusic and synths were not that common as it is nowadays. Electronic music was for long haired nerds and most music pieces last for more than 20 minutes. Then Kraftwerk started to record catchy tunes of not more than 5 minutes: Radio Aktivität, Autobahn (the single version of course, the album version is also more than 20 minutes), Schaufenster Puppe and The Model to name a few. Influenced by Kraftwerk bands like Human League, Orchestral Manouvres In The Dark, John Foxx and Depeche Mode came along with crossovers between “serious” electronic music and almost “top 40” pop music. The nice thing about a good synthi-pop track is the use of analog synthesizers and mechanic sounding rhythm machines. That’s probably one of the main reasons real synth-pop songs are not published anymore nowadays, our equipment is too perfect and sounds too “real” (or warm).
I have digged in my record collection to reveal some almost forgotten synth-goodies for you. I start with the band who will surely make it to the top 10 of the peculiar band names: The Naughtiest Girl Was A Monitor. I expected a quit experimental sounding track but it turns out to be a smooth pop song. The B-side is darker and more interesting. They recorded 3 singles and recently (2007) a compilation according to Discogs. Psychic Youth from the USA only recorded one 7” as far as I know. Step In Time/Future Is Now sounds are both catchy minimal electronics synth-pop tunes. According (again) to Discogs they have released only this single. Two more commercial sounding attempts of synth-pop come from Greg Vandike. He made a couple of 7”-singles, the last three on Korova. I’ve included Clone (with the famous artificial clapping machine) and Marie Celeste. Even more commercial sounding are the singles (4 in total between 1983 and 1985) of Robert Marlow. In 1999, 15 years later, there was also a complete CD including all the singles. Just to give you an impression I have included Claudette, with a charming and simple synth-riddle. That must be enough (the two others I’ve got are only for the diehards). The last single in the row is from Sympathy Nervous, published on the famous Japanese Vanity Records. Two other singles of this label can be found on this blog (December 7, 2009). This one is all what good synth-pop is about: catchy electronic bass loop, vocoder voices, atmospheric background sounds, probably too weird for the average pop fan but surely just good for the average No Longer Forgotten Music follower. The B-side is much more experimental but also enjoyable.

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