Heute möchten wir euch dem amerikanischen elektro-akustiker Jason Lescalleet vorstellen. Er verbindet elektronische sounds, fieldrecording und musikalische zitate in einer hervorragenden collagentechnik. In seiner serie auf bandcamp "What I do" stellt er immer die neusten ergebnisse seiner studioarbeit vor.
Kontakt: thomas [at] fsk-hh [dot] org

Diesmal möchten euch mit ein paar stücken Expo 70 aus der usa mit ihren psychedlik drone vorstellen. Wie ich finde paßt das gut zu heißen oder schwülen sommertagen. Aber was sagt discogs: EXPO ‘70 was formed in Los Angeles by Justin Wright as a side-project, while he was playing guitar in Living Science Foundation (Second Nature Recordings; GSL50 Compilation). Initially, the group also included Wright’s friend, PK . The pair improvised creating sounds bouncing effect-ridden instruments creating a wide range of textures and moods. EXPO ‘70’s first recording and inception was during PK’s project SXBRS recording session, resulting in one of many split releases on PKs’ label. After playing two shows (with Parts & Labor and Tyondai Braxton respectively), they ventured back into the studio. “Live July 18, 2004” was recorded with the help of Bryan Levene /artist]), and recalls the spirit of the Taj Mahal Travellers improvisational drones.

Returning to the midwest upon the breakup of LSF, Wright began developing EXPO ‘70 further, collaborating with McKinley Jones of the Kansas City-based Cantus Firmus. The pair recorded “Surfaces” in late 2005, adding synths over improvised guitar tracks pieced together by Jones. In February 2006, Wright completed “Exquisite Lust”, his first fully-realized vision of EXPO ‘70.
Dozens of releases followed in its wake.
Kontakt: thomas [at] fsk-hh [dot] org

Heute möchten wir euch Jeph Jerman mit verschiedenen aufnahmen vorstellen. Seine musik ist hypersensible und, wie ich finde, drück sie die schönheit der natur im vollen und ganzen aus. Aber was sagt discogs dazu: "In 1986 I began recording and performing under the name Hands To. Most of the early soundwork was sampler and tape loop based, though over the course of ten years it evolved into using environmental recordings with very little to no manipulation or electronic processing.
In 1996 in Seattle I embarked upon a weekly series of concerts at Anomalous Records which brought me into contact with the city's improvised music community. For the next three years I played with anyone who would have me. During this time I began giving solo performances using only natural found objects (stones, shells, bones, driftwood, pine cones, etc), as soundmakers, a practice which continues to today. Eventually I stopped using the name Hands To.
In 1999, the Animist Orchestra was founded. The AO focuses on making music that hopefully bypasses our individual egos.
Most of my previous work could be interpreted as being 'idea-based'. I find that most of my work nowadays is sound-based. I believe this is due to my growing interest in listening, in what happens when one listens, and my concomitant disinterest in contextualizing sound." - Jeph Jerman
Kontakt: thomas [at] fsk-hh [dot] org

Dieses jahr ist leider die große dame der sozialkritischen sf und fantasy leider verstorben. Aus diesen anlaß, und zu ehren, spielen wir diese im orginal auf cassette 1985 erschiene produktion über die erfunde ethnie der kesh. Zu hören sind syntheziserklänge und fieldrecodings, sowie texte in der sprache der kesh. Gedacht war damals die cassette als soundtrack zum buch Always Coming Home von Ursula K. Le Guin.
Kontakt: thomas [at] fsk-hh [dot] org

Vor einiger zeit ist Alan Vega, frontmann von Suicide, gestorben. Hinterlassen hat er sein testament - It, sein letztes studioalbum. Anders als seine vorgänger besticht es aus minimalen post-industriellen beats und reduzierten sounds, nicht zu vergessen Alan Vegas futurstischen texten. Aber was sagt discogs zu Alan Vega: "Alan Vega (born June 23, 1938, Brooklyn, New York, USA - died July 16, 2016) was an American musician, vocalist and sculptor and one half of the seminal electronic duo Suicide. He began his career as a visual artist, gaining notoriety for his "light sculptures" eventually Vega opened his own lower Manhattan gallery space, which he dubbed the Project of Living Artists. The Project served as a stomping grounds for the likes of the New York Dolls, Television and Blondie as well as the 15-piece jazz group Reverend B., which featured a musician named Martin Rev on electric piano. Soon, Vega and Rev formed Suicide, whose minimalist, aggressive music — a fusion of Rev's ominous, repetitive keyboards and Vega's rockabilly snarl — helped paved the direction for the electronic artists of the future.
Suicide disbanded in 1980, and both Vega and Rev undertook solo careers. Vega's self-titled 1980 debut and his 1981 effort Collision Drive continued to explore the fractured rockabilly identity he had established in his earlier work. 1983's Saturn Strip, produced by longtime fan Ric Ocasek, marked Vega's debut for Elektra Records; corporate relations soured during production for 1985's Just a Million Dreams, however, and at one point the label even attempted to remove the singer from his own studio sessions." Die titel: DTM, Dukes God Bar, Vision, It, Screaming Jesus, Motorcycle Explodes, Prayer,
Prophecy, Stars.
Kontakt: thomas [at] fsk-hh [dot] org

Etwas Punkrock gefällig? Alice Dount sind ein klassiker im AT-katalog und spielten oft in hamburg mit gleichgesinnten wie No Means No und The EX, wo ich sie auch öfters sah und von ihrer liveshow immer begeistert war.Da wir den G20 in diesen monat in hamburg haben, den nicht so ernst gemeinten hit "World Profit" als highlight auf der platte. Aber was sagt discogs zu Alice Dount?: "To paraphrase Donny and Marie, this durable New York combo was a little bit Frank Zappa, a little bit cacophonous punk. That combination makes its quirkcore expeditions either grin-inducing or grating, depending on one's ability to stomach the unique vocal style of frontman Tomas Antona, whose high-pitched screech falls somewhere between Perry Farrell and Sparks frontman Russell Mael on the weed-o-meter. While it took the quintet a while to find its footing — the first two albums are little more than extended, grad-school fortified fart jokes — Alice Donut did develop a knack for sniggeringly malevolent tweaking of mainstream and underground mores alike." Die titel: Green Pea Soup ,Written-By – Alice Donut,World Profit, Written-By – Alice Donut, T. Meltzer,Mason Reese, Lead Vocals – Ted Houghton, Written-By – Alice Donut, Great Big Big Big Head, Written-By – Alice Donut, T. Meltzer, Diet Cola Syringe, Written-By – Alice Donut, New Jersey Exit, Written-By – Alice Donut, T. Meltzer, American Lips, Written-By – Alice Donut, Windshield Of Love, Written-By – Alice Donut, Mad Dogs On A Bone, Written-By – Alice Donut, Joan Of Arc, Written-By – Alice Donut, T. Meltzer,Bedpost, Lead Vocals – Ted Houghton, Written-By – Alice Donut, Sunshine Superman, Written-By – Donovan, Love Is A Fickle Thing, Written-By – Alice Donut, T. Meltzer, Tipper Gore, Written-By – Alice Donut,Death Shield (live),Producer, Engineer – Mike Arafeh, Written-By – Alice Donut, I Want Your Mother (live), Producer, Engineer – Mike Arafeh, Written-By – Alice Dount.
Kontakt: thomas [at] fsk-hh [dot] org,

Glands Of External Secretion sind Babara Manning, die ihr ja alle kennt, und Saymour Glass vom Bannafish Fanzine aus San Fransico/USA. Beste soundcollagen in lo-fi und ganz neu herausgekommen.‎ Hier die titel:Pollinating Toxic Cactus, Kalamata Olives, Jughead’s Musty Basement Full Of Doll Heads, The Ninth Busiest Matcha Kiosk SFO,Citation Needed, Rolling Box Of Tar, Harridan Stipend, Why Do I Feel?, What The Imposter Executive’s Wooden Shoes Revealed, Fifth Quadrant Gift Wrapping, It’s A Great Time To Be A Liar.
Kontakt: thomas [at] fsk-hh [dot] org

Zeena Parkins ist eine pionierin des elektrtisch verstärkten harfenspiels. Sie began sich ein namen in der New Yorker Downtownszene einen namen zu machen und spielte dort mit allen namhaften musiker_innen. Zudem war sie auch in hamburg des öfteren live zu sehen. Diese platte ist sehr ruhig von ihr und stammte aus dem jahr 2017. "Zeena Parkins is an American harpist (Detroit, Michigan, USA) active in rock music, free improvisation and jazz. She studied at Bard College and moved to New York City in 1984.

Parkins plays standard harps, as well as several custom-made one-of-a kind electric harps; she also plays piano and accordion. Besides standard and electric harps, her work also incorporates Foley, field recordings, analog synthesizers, samplers, oscillators and homemade instruments."(Discogs).

Tuxedomoon sind einer der wichtigsten New Wave bands der 1980er überhaupt. Aus San Francisco kommend veröffentlichten sie schon früh in den 1980er wegweisende tracks auf den Residents label Ralph Records.
Auch hier, in der kürze, das discogs-profil:
"Tuxedomoon is an avant-garde, electronic-oriented collective whose music ranges from new wave pop to jazz fusion to more experimental synthesizer soundscapes (usually including saxophone and violin), which were frequently married in concert to performance-art shows. Tuxedomoon was formed in San Francisco in 1977 by two electronic music students at San Francisco City College, Blaine L. Reininger (keyboards, violin) and Steven Brown (keyboards, other instruments). Brown's local theater connections supplied equipment and occasional vocalists in Gregory Cruikshank and Victoria Lowe, plus more frequent contributions from singer and performance artist Winston Tong. Punk and new wave were opening up the San Francisco music scene at the time, and Tuxedomoon landed an opening slot for Devo in 1978 at around the same time they cut their first single, "Pinheads on the Move." Lowe quit the band before their first EP, No Tears, which featured off-and-on members Michael Belfer (guitar) and Paul Zahl (drums). Tong and Belfer departed temporarily, and Peter Principle (b. Peter Dachert) joined as a full-time member. Tuxedomoon signed to the Residents' Ralph Records in 1979, which eventually got them overseas exposure. Feeling that their ideas were more in tune with the European electronic music scene, the band toured Europe after 1980's Half Mute, for which Tong returned with filmmaker and visual artist Bruce Geduldig. After 1981's Desire, the band relocated in an artist's commune in Rotterdam, Netherlands. Within a year though they were forced to leave and moved to Brussels, to find first shelter in the Plan K. (a live p.a. club). Reininger began to branch out as a solo artist. Tuxedomoon was also hired to score a Maurice Bejart ballet, the results of which were released in 1982 as Divine. Reininger left for a solo career in 1983 and was replaced by Frankie Lievaart and horn player Luc Van Lieshout. In between side projects and scoring, the band sought an international deal for their forthcoming LP Holy Wars; it was eventually released in 1985 and became the band's biggest commercial success. Tong left the group for good that year, leaving Brown and Principle the only remaining San Francisco members; multi-instrumentalist Ivan Georgiev was hired to replenish the group's sound for 1986's Ship of Fools album and tour. Scoring work from past projects has been reissued in Belgium. Reininger, Brown, Principle and Lieshout still record together as Tuxedomoon, whilst Reininger, Brown, Principle and Tong have all recorded as solo artists."
Die titel der ersten cd des zweier cd-sets:
Kontak: wp666 [at] gmx [dot] de

Letztes jahr im november ist die große alte dame der avantgarde musik gestorben. Zum andenken senden wir hier eine cd mit frühen elektronischen werken, die gerade ihre paralelität zur industrial musik offenbart, aber das schon in den 1960er. Neben den, weiter unten erwähnten, zwei cds mit früher elektronik auf dem Buchla 100 modularsynth, ist bei Important Records vor nicht allzu langer zeit eine 10 cd-box mit eben diesen frühen modularsynth experimenten erschienen. Wenn das keine tiefe verbeugung und huldigung ist!
Hier nochmal das englische discogs-profil von Pauline Oliveros:
"Pauline Oliveros (born May 30, 1932, Houston, Texas, USA - died November 25, 2016) was an American composer, performer and author.
In the early 1960's, Oliveros, along with Morton Subotnick and Ramon Sender, formed the San Francisco Tape Music Center, and there, she began her pioneering work with electronics and tape. In performances, Pauline Oliveros used an accordion which had been re-tuned and the sound altered with the aid of electronics. Throughout the years, she developed the Extended Instrument System (EIS), a sophisticated setup of digital signal processors designed for use in live performances. Examples of her use of the system can be heard on recordings by the Deep Listening Band. Her early electronic works appear on a pair of CD's: Alien Bog/Beautiful Soop (Pogus, 1997) and Electronic Works (Paradigm, 1998)."
Die titel:
I Of IV 25:29
Big Mother Is Watching You 33:45
Bye Bye Butterfly 8:02
Kontakt: wp666 [at] gmx [dot] de

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