extr : 4’14’’- 2001– CD 1 - IMEB –Compendium International – LDC 278 11 22/23 - chien : Timothé

La baballe du chienchien à la mémère - extr : 4’14’’ - 2001

Back in the early 90's myself (Jeff Waye) and Linus Booth had started a record label, Discreet/Indiscreet Records. To launch one our releases by David Kristian we decided we needed one of our favourite groups Panasonic to come headline. With zero idea of how to throw an event or say what work papers were we somehow got two Finns and a bunch of gear over the border and set up at a closed down rap club (which fortunately hadn't had the PA stripped out). The power of being naive made for a great show (as did the ex rap promoter / club owner who proved invaluable with the border problem hustle). Afterwards went back to our place and listened to dub records with Mika, Ilpo, and Tommi Grunlond until sun came up and followed Pan Sonic right through their career from that point. Upon learning of Mika Vainio's passing and the ensuing nostalgia I remembered I had a DAT tape of that night. So here it is... Panasonic's set from that night in all its glory.

Completist edit... a reliable source says this is 1996 and not 1995 despite me remembering this being organized around the Clubfoot EP release in '95. I mean it's not impossible it took us a year to organize a launch party...

Shout out to Harris Newman at Grey Market Mastering for the working DAT player and transfer.

Panasonic (Live In Montreal April 11th / 1995)

Rinse France Podcast

Collapsing Market special Mika Vainio on Rinse France - 4th May 2017

Recorded in 1976 by Andreas Rodousakis on double-bass and the composer himself on the mixing desk of Radio Sweden Studio in Stockholm, En Pyri presents a previously unreleased version of Stephanos Vassiliadis's composition for tape and double-bass written in the memory of Jani Christou. En Pyri was composed three years after a multi-fatal car crash that caused the untimely deaths of Anastasia Vassiliadi (first wife of Stephanos Vassiliadis), Jani Christou (acclaimed composer, close friend and collaborator of Stephanos Vassiliadis) and of Christous’s wife Theresia Christou Choremi. The title En Pyri, translating as In Fire, comes from the First Epistle of the Corinthians “..for the day will disclose it, because it is revealed in fire..”, referring to that what remains after death, or in the composer’s words: “man’s song-creation is the only thing that can withstand and overcome destruction”.
The fire is clearly pictured during a particularly long climax starting midway to the end of the piece. The dramatic aspect of this spectrally dense section is even stronger during live shows, with the performer centre-stage fiercely playing double-bass, but failing to be heard over the full-range audio of the 8-track tape. This staged element of En Pyri is inevitably lost with the reproduction of this recording, but the audio alone carries a heavy load. Sounds as if written out of total need and almost physical necessity to deal with death and loss. At the end of the composition, while the performer is still onstage, a quiet tone is “revealed” and held for a few minutes signifying that what remains; that what is “revealed in fire”.
In most performances of En Pyri, Vassiliadis was on the mixing desk. According to statements of his close friends and collaborators, he would gradually increase the level of the 8-track tape to the point he could physically feel the sound on his body. Needless to say, playback of this track in maximum volume is highly recommended.

EN PYRI / BACCHAE

EN PYRI

Stephanos Vassiliadis - En Pyri

A conversation between scholar and historian Amy Cimini, Yarn/Wire percussionist and Adjacencies interpreter Russell Greenberg, and Lawrence Kumpf situating Maryanne Amacher’s "Adjacencies" within the lineage of her larger body of work. They discuss the practical challenges surrounding the interpretation and re-staging of the piece 51 years after its last performance and play a variety of pertinent audio, including a rehearsal recording of "Adjacencies"’ original performance by Jan Williams and Edward Burnham, audio research material used as a model for its reinterpretation, and a selection from the later piece "City-Links..: Buffalo" demonstrating Amacher’s practice of recycling audio material from earlier work.

Blank Forms #21: Maryanne Amacher's Adjacencies

Performance
Saturday, February 24th, 2018

ISSUE Project Room
22 Boerum Place, Brooklyn

Saturday, February 24th, ISSUE presents Argentine acousmatic composer Beatriz Ferreyra and Obfuscation Morphologies, a new work by Eric Frye. Though they differ in generation, both composers employ kindred methods for orienting sonic surfaces with signature intensity and precision across electroacoustic and computer music. Both Ferreyra and Frye present their work specifically for an eight-channel sound arrangement, a rare listening opportunity.

Beatriz Ferreyra began her composing career incidentally, having been exposed to the musical methods of Pierre Schaeffer and the Groupe de Recherches Musicales, shortly after moving from her native Argentina to Paris in the 1960s. Ferreyra’s passion for unusual sounds jump-started an education that led to the creation of her own entrancing electroacoustic works, as well as collaborations with alternative instrument inventors like Bernard Baschet and assisting roles in the realization of compositions by Schaeffer himself.

Ferreyra has remained active in the five decades since her initial experimentations, including work at the Institute for Electroacoustic Music in Bourges and in the field of music therapy, but official releases of her music have been few and far between. In 2015, her album GRM Works was released via Recollection GRM in collaboration with the Viennese label Editions Mego. The pairing of archival recordings with more recent compositions showcased a remarkable consistency of artistic vision. The Recollection GRM label, which has done fine work reissuing epochal works from the likes of Schaeffer, Luc Ferrari and Bernard Parmegiani, decisively position Ferreyra's overlooked work in the otherwise Male-dominated GRM canon.

Despite her close involvement within the history and development of electroacoustic music in Paris, close inspection of her work reveals distinct inspiration and technique, as the album’s accompanying notes reference everything from alchemy to the Qabalah, always giving the suggestion of the organic -- of elusive and ephemeral natural states amidst her varied use of technology. In her description of 1967 work Demeures aquatiques, Ferreyra outlines “The flow is constantly facing the ebb. Everything lies here [...] I wanted to illustrate the perpetual attempt by the solid and the fluid to interpenetrate via this experimental approach through earth, sea and air: overlapping elements folding inwards, bursting as tiny particles toward soft and flat surfaces.”

In late 2016, Ferreyra performed at the Heroines of Sound festival in Berlin, where she spoke with Hanna Bächer for a Fireside Chat on RBMA Radio about her childhood in Argentina, the first time she heard electroacoustic music, her frustration with the younger generation’s emphasis on rhythm, and the lasting influence of Bernard Parmegiani’s Violostries. Most recently, she has performed at Portugal’s Semibreve festival, and with Pan Daijing, Valerio Tricoli and Werner Dafeldecker at St. Elisabeth Kirche in Berlin.

Eric Frye follows his exceptional 2017 ISSUE performance with Curtis Roads with Obfuscation Morphologies, a work that Fernando Zalamea, professor at Universidad Nacional de Colombia, describes as “an outstanding concrete sheafification of sounds drawing on conceptual motivations coming from Charles Sanders Peirce's studies on nerve excitations.” An early sketch of the piece appeared in excerpted form on Frye's 2015 recording, Some Consequences of Four Incapacities, published by Jeff Witscher's Salon imprint. The liner notes, written by philosophy of mathematics researcher Andrei Rodin, describe the work as “topologically transformed sonic morphologies which trigger hallucinatory reactions through a succinct succession of auditory cues. Frye's sound pieces emerge as an artistic expression of novelty and freedom, which, by Georg Cantor’s popular quote, is indeed the essence of mathematics.”

Beatriz Ferreyra - LIVE at ISSUE / February 24th, 2018

Taken from th album 'Ecstatic Computation' releasedas LP and Download

Ecstatic Computation

Caterina Barbieri 'Fantas' (EMEGO 259)

An album and a building

From November 2019 to February 2020 Espen Sommer Eide is presenting his new sound exhibition ‘The Waves’ at Marres in Maastricht. The idea from the beginning was to make both a spatial album as well as material for the exhibition. 
In the year preceding the sound exhibition, Sommer Eide recorded the album with help of several artists and musicians, and with instruments that were especially designed for this project. The pieces cause a collective stream-of-consciousness that make the spaces, architecture, and history of the house tangible. Following the shadows of the musicians, the audience experience a musical journey that transports them from one room to the next. They hear sequences, melodies and rhythms where the voices and perspectives of the performers are multiplied and heard from many angles at once, as in an imaginary hall of sound mirrors. A music that highlight the building itself as container for possible worlds, unobserved, unoccupied by any particular subject.

Espen’s thoughts about The Waves
Growing up in a small town, like I did in Tromsø in northern Norway, you had few possibilities to have alternative music experiences live. The transformative experiences had to come from obscure records and copies of cassettes and mixtapes one by accident got hold of. Well, not completely by accident, but through a kind of underground network of music that existed at the time. Like David Grubbs writes in his essay ‘Records ruin the landscape’ there was often a shroud of mystery around these recordings – often the simple mystery of how someone actually could have released something so impenetrable and weird in the first place. The mystery could only be solved through repeated listening. Repetition becomes a central part of the listening. You don’t have to get everything the first time you hear it, like you have to while listening to a live improvisation for instance. Listening to an album at home or on headphones somewhere, you can choose your amount of concentrated attention. This is the unique strength of the recording, and of the album as a format. It creates a kind of diffuse listening that opens up for many alternative experiences in parallel, and that reaches beyond the work itself and is mixed with the daily activity and the memories of the listeners personal life.

Virginia Woolf’s novel The Waves is an important source of inspiration. The Bloomsbury group, inspired by philosophers like Bertrand Russell and Alfred North Whitehead, were interested in exploring the question what the world would be without humans, that is, without anybody seeing or hearing it. Stream of consciousness is important for me as a belief in multiple simultaneous perspectives, parallel stories and inner and outer monologues. You find in the circle around Woolf the immense influence of the new electromagnetic wave theories, that suggest that the world is one enormous entanglement of events and people. It was also a time where scientific experiments were inseparable from performative art works. Huge crowds would come to witness the scientist Helmholtz do an acoustic experiment with tuning forks transmitting sympathetic resonance. In The Waves, you don’t exactly know where the voices are coming from or who is speaking.

The text collage with quotes mostly from Woolf, and a few from Whitehead and Russel, is not here to convey a particular message, but to be the raw material for our improvisations and permutations. The sound of words constitutes a layer of meaning that surrounds us all the time. It creates small misunderstandings or "mis-hearings" and propels our conversations forward often without us being aware of it. This soundscape of language is to me like very old music. A band that has been on tour forever.

Espen Sommer Eide: Slaapkamer from upcoming album The Waves

Audiosphere - Sound Experimentation 1980-2020
Reina Sofía National Museum of Contemporary Art, 
Madrid, Spain
Curated by Francisco López

Artist Name: George Moraitis
Country: Greece
Title Piece: Topology 
Year: 2020
Duration: 5:37

George Moraitis - Topology

00s44032_!1

Related tracks