Name: axaxaxa #71 by Puxie B.o.m.b – Diary of a Spider by axaxaxa mixed media
Duration: 1 h 39 min 50 s
Description: axaxaxa #71 by @emotronicphotosynthesis – Diary of a Spider

passing phases, survival tactics, tasteful scratching, singing breaks, efteling aesthetics

w/ @bkowusu + @valclipp

initially aired via https://offcenter.online

Community Podcast #19 w/ BK Owusu

http://greymatterarchives.club/sandcircles.html
@sand-circles

GMA79 - Continuity (Sand Circles)

axaxaxa #41 by @reymour – Vomi De Velours

axaxaxa #41 by Reymour – Vomi De Velours

Selections from 100 Models of Hegikan Roku is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows last year’s Selected Early Keyboard Works and anticipates Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of Hennix’s writing.

Upon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. “The Pointed Time Bus”). Frustrated with the jazz musicians’ inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle. 

In 1976 The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group’s first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. With titles taken from Japanese Gagaku, “Music of Auspicious Clouds” and “Waves of the Blue Sea” are expansive drone improvisations, breathing with the pulsating lull of cicadas’ organic sonic latticework. Now accessible for the first time, these recordings by what Hennix has called “the most rejected band ever formed in Sweden” continue to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.

Catherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer.

The Deontic Miracle: Music Of Auspicious Clouds (excerpt)

Our compilation for 2020. Buy it here: https://xyzproject.bandcamp.com/album/xyztape-various-artists-2020

05. Evil Medvěd - Zyprexa

🤹 Looking For - A Nice Nonsense w/ Janomax
Un mix de transition annuelle, non linéaire, up & down & mid tempo, un peu de nostalgie, un peu de fun, un souvenir de baignade dans de l'eau à 8 degrés.

w/ @janomax

Unknown Album

Looking For #19 - A Nice Nonsense w/ Janomax

@alexiacaunille 

Pour célébrer notre deuxième anniversaire, nous lançons une série de trois compilations, regroupant 43 artistes aux esthétiques plurielles, à l’image d'Ola Radio.

« Ola Compile vol.1 - Bande passante » est la première de cette série de trois volets.

To celebrate our 2nd anniversary, we are launching a serie of three compilations, bringing together 43 artists with plural aesthetics.
This is a tribute to the different scenes of electronic music and the actors who bring it to life.

“Ola Compile vol.1 - Bande passante” is the first of this three-part series. Its release is scheduled for January 14, 2021 (Ola Radio's anniversary).

Artwork : Maceo Goy-Clairet
Mastering : Grégoire Candela (Octave Sonore)
A big thanks to all the artists who contribute to this project.
Un projet d’Ola Radio

Alexi Shell - BABY

Giaderza (16/01/21)

axaxaxa #71 by @emotronicphotosynthesis – Diary of a Spider

axaxaxa #71 by Puxie B.o.m.b – Diary of a Spider

B2b 100% marseillais avec Ttristana et Vazy Julie pour une ballade dans un paysage surréaliste.

: "Le Cadavre Exquis est un jeu inventé par les surréalistes en 1925. Il consiste à commencer une phrase et la faire terminer par les autres participants, sans tenir compte des extraits précédents. Au fil du temps, ce jeu s'est étendu à tous les arts. Le back to back est un exercice qui m’a toujours fait pensé au cadavre exquis. Dans sa forme, peut-être la plus libre, la musique a tout autant de choses à dire que la littérature.

La musique de TTristana donne à expérimenter un univers très marqué et propice à la visualisation. C’est aussi ce que j’ai envie de donner à entendre dans mes dj set : des décors et des histoires. Des voyages et des aventures. Des rêves et des paysages qui ne peuvent exister que dans nos pensées secrètes.

C’est en se faisant s’entrechoquer nos deux univers et en construisant un fil narratif tour à tour que nous avons réalisé ce mix et travaillé à une forme de back to back 2.0. À la manière du cadavre exquis et en se renvoyant la balle à chaque fois, on a œuvré à faire cohabiter nos mondes personnels tout en se nourrissant respectivement de l’énergie insufflée par l’autre. Davantage appliquées à la démarche plutôt qu’au résultat, c’est en découvrant le résultat qu’on a pu entendre l’histoire. Une histoire écrite à deux et sur plusieurs jours, au gré de nos humeurs, de la pluie et du beau temps. Intime et dramatique, c’est une histoire qui parle de douceur et de chaos."

@ttristanafkap6r6r6k
@vazyjulie

Claim Our Existence • TTristana invite vazy Julie

Hiver / winter

Seasonal show by @syndrome_premenstruel_spm & @fatmawonthealyou about music and plant on Lyl Radio.

Fatma Pneumonia et Syndrome Premenstruel sont de retour pour un hiver sous les signes du cresson, des hellébores et d'une salade très spécial! Les branches du gui nous protègent. Cold talk, recette et tracks chaudes.

tracklist and more info >>> https://lyl.live/episode/hevea-syntax-5

axaxaxa #71 by Puxie B.o.m.b – Diary of a Spider

axaxaxa mixed media

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