Celebrating the release of her new album "Felicita" on March 18, here is a new Pingipung Podcast by Anadol. Completely different from last time, but just as wonderful.

Check out the album here: https://anadol.bandcamp.com/album/felicita
https://soundcloud.com/altinkasetcilik

For any track list requests please send us a private message.
Up next: Kurup

Pingipung Podcasts

Pingipung Podcast 139: Anadol - Memories of a beer bottle

As a continuation/mutation on the scissors theme, I decided before making any compositional processes that I would use 1/4" reel to reel tape and a razor blade as a fundamental medium. I had a few audio files from Pierre which were short but had a common key, so I realised a good place to start would be to create tape loops using Pierre's samples, a razor blade, a splicing block, a chinagraph pencil and some splicing tape. My main machine for playing the tape loops was an Akai valve reel to reel recorder.

I have a reel of tape in my collection which has passed its sell by date by a long shot, the magnetic oxide flakes off with very little friction. The idea of using tape loops which physically deteriorate is obviously associated with William Basinski and his 'Disintegration Loops'. I didn't want to avoid this fascinating process for the sake of avoiding any artistic mimicry, so I thought of other ways to incorporate the ideas of decay into my piece.
I reversed Pierre's samples before transferring them to tape, so when a tape loop was formed, the audio would be reversed and then as the loop played and the result recorded back into the computer, the loop would crumble and decay. Then when several minutes of decaying audio was recorded onto the computer, I would then reverse the whole recording to render Pierre's sample 'forwards' again, but now the decaying or 'disintegration' process has been reversed.
There are two main loops in the piece which use this method, both are made of Pierre's samples. They start off as sparse, broken and crumbled fragments and then eventually build and replenish to become more complete and recognizable, the process is very organic sounding. The tape loops then became the backbone of the piece, they determined the key and mood, the meter is loose and vague however.
My next step was to continue with the decay theme but this time using my favourite vintage digital delay pedal. The pedal allows a 4 second delay which can be set to decay over a fairly long period of time. I used the pedal in this piece to create a continuous electric guitar improvisation. Using the tape loops of Pierre's samples as a 'drone' to follow, I improvised sparsely, building up more intricate cyclic patterns note by note. As the pedal loops, notes crumble and fade into the distance, and new notes are constantly being added, so the building and the decaying is a seamless process which is complemented by the reversed decaying of the tape loops.

Other sound sources in the piece include a small Romanian melody harp and location recordings. The guitar improvisation was also captured to reel to reel tape, and then played back out of the internal speakers of the Akai machine and captured both directly from a line out and with a microphone. To get away from the confines of my studio and to exploit the drama of spring, I took various machines into my garden to recapture the recorded improvisation in a real environment. My set up was surrounded by hedges where birds and insects go about their daily lives, contributing to cycles of birth and decay.

Stephen Wilkinson/ May 2009
____________________________
Relay is an online music project devised and curated by musician John Lambert (aka Chequerboard). Explore the project in full at www.relayproject.com

Hedged In by Bibio

Here's Strange Brew #186 - Heartbeat - with gugai on 8radio.com. The one and only Bill Bailey tell me why he loves Once In A Lifetime by Talking Heads, plus there's music from Elaine Mai, Pixies, Bitch Falcon, Jogging, Wolf Parade, Jape, Dan Deacon, Happyalone., Wheat & The Flaming Lips.

Every Friday at 9pm & Saturday at 7pm on 8radio.com.
Spotify - open.spotify.com/user/gugai 
www.strangebrew.ie 
www.facebook.com/strangebrewgalway 
www.twitter.com/@strangebrewirl 
gugai@strangebrew.ie

8radio

Strange Brew #186 Heartbeat

Lost for the first time, 
In the sad meetings of our world,
I met my enemy in a dream,
 
He posed as a loved one, who had passed on
but I could see within the form he took,
the rot and the death when no one else could

I said to my family in that dream, 
Why won't you let him go? Why won't you let him die?

And then, the thing,
Within the stitched body spoke to me, and assured me, 
he had come back, and everything would be put right 

I could smell the sulfur and the death, 
emanating from him, 
when no one else could see,

I have never felt a hate so strong,
I have never felt a hate so strong,


A face in the crowd, 
(a face that looks like your own)
A voice in your mind
(and in the footsteps behind)

A cold hand on your shoulder

A face in the crowd, 
(a face that looks like your own)
A voice in your mind
(and in the footsteps behind)

A cold hand on your shoulder

A face in the crowd,



The mind wanders endlessly, 
as does the human heart,

Like an unclean spirit goes through arid places, 
Seeking rest but never finds it, 

I hollowed out my insides, and changed my form, 
and I stared into the mirror 
Far too long,

Most of our suffering, we’ve brought upon ourselves,
But as a gift, you may see 
A vision, of Hell,


A face in the crowd, 
(a face that looks like your own)
A voice in your mind
(and in the footsteps behind)

A cold hand on your shoulder

A face in the crowd, 
(a face that looks like your own)
A voice in your mind
(and in the footsteps behind)

A cold hand on your shoulder

A face in the crowd, 
(a face that looks like your own)
A voice in your mind
(and in the footsteps behind)

A cold hand on your shoulder


A face in the crowd,

(a face)
(a voice)



© Brinker-Moore 2020
All rights reserved

Howling Man

The beginning, the future, the light in the ashes, 
My still eyes, open, caught the light in their lashes,  
A chance to fall, I've taken it blindly, 
The passing moments will not be kind

I was in a stupor by day and blackened by time,
The passing of months has not been kind,
Caught in the grains between black and white,
The essence of life, the essence of my life


Don't leave me waiting here, 
Don't leave me on my own,
Don't leave me hanging, no

Don't leave me waiting here,
Don't leave me on my own,
Don't leave me hanging, waiting here
Don't leave me hanging here,
Don't leave me on my own,
Don't leave me hanging, waiting here
Don't leave me on my own,
Don't leave me hanging,

Waiting on the Terrors of night,
Waiting on the Terrors of night,
Waiting on the Terrors of night,

Waiting on the Terrors of night


These motives we've made, and family ties
I’ll be the last one on earth, the last one to die
I'll cut off my right hand, and gouge out my eye
The coming years will not be kind


Don't leave me waiting here, 
Don't leave me on my own,
Don't leave me hanging,

Don't let them hang me,

Don't leave me waiting here,
Don't leave me on my own,
Don't leave me hanging, waiting here

Don’t leave me hanging here,
Don’t leave me on my own,
Don’t leave me hanging, 

Waiting on the Terrors of night
Waiting on the Terrors of night

Waiting,
Waiting on the Terrors of night



© Brinker 2020
All rights reserved

Terrors Of The Night

Dublin-based songwriter Paddy Hanna today reveals “Cannibals”, the first track from his forthcoming album The Hill. “Cannibals” is out now on all digital platforms. The Hill, which will be released on September 25th, is available to pre-order via https://www.strangebrew.ie/

As Paddy explains about the new single - “Cannibals is a maze of conflicted thought, it asks the question, are we decent people or demons in cheap wigs? The track mixes organic with inorganic sounds to create that conflict, acoustic instruments blend with found drum sounds while woozy synthesisers create an uncertain haze. The end-result, I hope, is something resembling Ennio Morricone by way of Late period Tom Waits, but I’ll let you draw your own conclusions”.  

The album features Girl Band’s Adam Faulkner and Daniel Fox on Drums & Double Bass, Daniel Fitzpatrick (Badhands, The Mighty Stef) on guitar & Keys and Jill Redmond on Vocals. The record was produced by Daniel Fox and the artwork was designed by Jill Redmond. 

Paddy explains further about the album – “We lost ourselves on the Hill, Daniel, Daniel, Adam and I. a seemingly endless spell of isolation spent banging sheet metal, rusted hubcaps and blistering our fingers through non stop recording. 

The Hill is an internal musical about how the past and the present exist at the same time in our minds. It deals with the struggles of mental health, the sometimes difficult search for happiness and the moral conflict of growing up in Catholic Ireland. 

As a listener I want you to take a seat inside my head, to smell the west cork air, to feel the gravel under your feet. In order to get this we set up ambient mics outside our makeshift studio to capture the natural landscape, we wandered boatyards and an abandoned train station recording old bits of metal we would clang, to give the album a sense of place. Sonically we also wanted to step away from the String sections used on Leafy Stiletto, opting instead to create melodies and tones using vocals and synthesisers. 

Most importantly however, I just wanted to put the past behind me on this record, I wanted to leave it on the hill. I hope you enjoy my therapy”. 

Hanna’s third album will be released via Strange Brew

Paddy Hanna - Cannibals

“The danger in the music is enticing. A hybrid machine with organic parts, like a vision of the future from a distant past.”  - Marty Willson-Piper (The Church)

“A singular sound... dark and elegant.” - James Eller (The The)

Howling Man

Dover Lights

Related tracks