bizzare

WELL WE'LL SEE THROUGH

hole in the ground

Estimado Gamma:

Matriarch

Daphne Oram

Fighting cis-male hegemony on and in music - the experiment

(Also check "womentronic - the dance" http://soundcloud.com/leil-zahra-mortada/sets/womentronicdance/

#womentronic/experiment

Disposable Music Series Subscription
DIM006-010

It has taken over four very active years for the people behind the Finders Keepers label family to finally return to what we still consider to be one of our favourite vinyl projects. The ongoing Disposable Music library subscription series is a series which pools some of the best emotive, comprehensive, previously unavailable instrumental music from the unmarked archives of experimental artists within the expanding Finders Keepers family and presents it as a series of limited uniformed archival vinyl discs. Like all the most influential library music labels on the 60s, 70s and 80s the music from DiM is sourced, compiled and produced catering to the requirements of the film, television and radio industries but as the interest in thematic instrumental 'picture music' seep deeper into the record collector psyche these limited multi-purpose discs are naturally recommended for whichever creative application you see fit. Each disc combines two full musical programmes sourced from both vintage archives and new exclusive recordings by contemporary artists specially paired to compliment the individual musical sensibilities and mutual affection.

This time Disposable Music are proud to bring you metronomic jazz made for the Swiss cheese information board; wind synth music designed for planetariums; possessed pastoral mechanical folklore sounds; primitive electric organ sci-fi music; Spaghetti Western themes for Scandinavian fashion shows; drum machine music for household appliances; unused Polish detective theme tunes; Gallic dreamscapes for graveyard dates; mouthorgan music for mutants; Eastern street music field studies, and a selection of commercially unreleased tracks that have been recycled from French and American horror soundtracks, short-run TV ads, one-off radio programmes and educational science programmes. Having learned, enjoyed and expanded since the first run of DiM we are very excited to unleash this custom collection to your ever expanding music tastes.

Exclusively housed in uniformed die-cut sleeves designed by Finnish pattern designer Paola Suhonen of Ivana Helsinki with the optional inclusion of a limited edition tote bag for subscription participants.  Subscribers will receive the first two releases with the tote bag and a new instalment of the series each month until the end of the year.

Disposable Music Series Subscription (Volumes 6-10) (Sampler)

Walter Schuman
Pretty Fly/Lullaby (Night Of The Hunter)
KREEP02

Not content with already liberating over twenty dedicated global horror and thriller soundtracks as part of the labels expansive discography, Finders Keepers Records resurrect their ghostly Finders Kreepers imprint, an apparition last spotted back in 2009 with the archival Willow's Songs which exposed the original twisted folk music that inspired the seminal 1972 Wicker Man score. With an unwaning appetite for the rare and obscure side of the genre the labels next short series combines ten vintage recordings from the formative years or International horror introducing a host of bygone soundtrack musicians that combined folklore, musique concrète, early electronics, childlike vocals and flamboyant orchestras to accompany the surreal and hallucinogenic films that inaugurated and inspired the golden age of macabre fantastique cinema.

Sourcing a cross section of obscure global domestic pressings and under the radar vintage vinyl runs this Finders Kreepers reissue series combines a cross section of the rare/unknown and the seminal, bringing unobtainable sonic gems of both classic and uber-classic shock cinema to a discerning new generation of collectors.  A haunting lullaby that needs little introduction. Previously obscured beneath gruff narration within the grooves on a collectible patchwork vinyl audiobook of the film, this musical highpoint of Walter Schuman’s The Night Of The Hunter score finds a dedicated and undisturbed home as part of the Finders Kreepers catalog (amongst its distant doppelganger O Willow Waly lullaby found on our previous theme to The Innocents). Originally sung by the five-year-old actress Sally Jane Bruce but stylistically overdubbed by teenage actress Betty Benson (reverse echoing similar vocal dubbing tales from The Wicker Man’s production log) the high pitched fragility of this immaculate piece of haunting cinematic song has left an indelible sonic memory in the minds of discerning thriller fans which remain synonymous with recycled Sunday afternoon television schedules and the spooked-out aerial shots of composite rabbits, toad and Lotte Reinigner like scenery. This lament of the two riverboat runaways fleeing from the house where the submerged dead body of their murdered mother sways in the reeds still stands up as one of the most haunting and painstakingly pensive pieces of lyrical film music and has since provided direct influence on adaptations and interpolation by Stella Vander (Magma) members of Stereolab, Goldfrapp and Jane Weaver while the film itself (with its roots in purported factual events) continues to inspire the likes of David Lynch, Jim Jarmusch and Rob Zombie.

Before disappearing into relative obscurity this pastoral Swedish/French witch flick benefitted some active global distribution in the 60s due to the stunning lead actress Marina Vlady. A tale of unrequited love, sorcery and persecution this cinematic poem relies on hallucinogenic dream scenes and a paranoia plot to convey a similar tale to that of Eiichi Yamamoto's Belladonna of Sadness. With a shimmering organ and acoustic guitar Norbert Glanzberg score which follows the blonde witch as she rows her boat through twilight lakes and echoing caves while living off the land this unknown soundtrack would not be out of place in a haunted Kubrick ballroom or a Lynchian cabaret club. Scaling the outskirts of the classical horror genre La Sorcierre is more of a supernatural story with a horrific conclusion complete with a shimmering haunting score previously only available on a bizarre Israeli exclusive vinyl EP which has always been hard to track down for those who have literally fallen under the spell of the film.

Walter Schuman - Pretty Fly/Lullaby (Night Of The Hunter)

In the 1960s, pioneering electronic musician Daphne Oram presented a new way of creating music through paint. Using a machine she created called the Oramics System, composers could turn lines and squiggles drawn on strips of 35-mm film into ethereal audio.

"You could actually fade between timbres within a note so you could have a very bright attack softening throughout one note, like you might with a real instrument like a cello or something," says Tom Richards, a PhD student at Goldsmiths, University of London, who is studying Oram’s work." She very much saw the way this machine should work as being as nuanced as an orchestral instrument.”

Richards says Oram’s work was “initially spurned” and “she was seen as a silly young girl.” Despite these early criticisms, Oram continued to pursue electronic music and eventually become the first studio manager of the now-famous BBC radiophonic workshop. Her legacy is preserved in archive at Goldsmiths, University of London.

Featuring the voices of: Tom Richards, musician and PhD student, Goldsmiths, University of London; Daphne Oram audio from the Daphne Oram Collection, Goldsmiths, University of London. Images: wikimedia commons (top left) and Daphne Oram Collection, Goldsmiths, University of London (top right, bottom). Produced by Deanna Archetto.

Daphne Oram and the Oramics System

belle du soir - treasure island

Ferris Wheel - Flowers

Oramics machine sound sample

Daphne Oram - rotolock

Jacquelyn Hyde and the Moon Folk - Strange New World

1. Four Aspects - Daphne Oram

Not Waving - Redacted

• 1st vinyl edition of Not Waving’s absorbingly raw, adventurous 2nd album
• Originally issued in edition of 100 gold tapes in 2013. Now sought-after 2nd hand
• A refresher of sorts, following the powerful new sound of Not Waving’s Animals LP for Diagonal
• Newly remastered for vinyl by Matt Colton @ Alchemy in an edition of 500
• RIYL Pye Corner Audio, John Carpenter, Edward Artemiev

With the necessary vinyl reissue of Not Waving’s sophomore solo LP Redacted (2013), Alessio Natalizia reminds us of his nascent psychedelic side in light of his lucid, skizzo deviations on the Animals album for Diagonal. While there’s a mutual sense of technoid momentum to both albums, Redacted is a far gauzier, freeform and sensual beast; one richly steeped in proto/post-club atmospheres and allowing his imagination to run away with itself.

Conceptually, Redacted pursues the “classified” themes of his Remote Viewing-inspired Umwelt (2013) LP into even murkier departments, drawing subtly ‘marish parallels between the cold war atmospheres that birthed original post punk, industrial and proto-techno, and the current pallor of socio-political unrest that pervades our present situation.

Omitting the original tape’s expansive closer for the sake of a single LP cut, this vinyl version plays out like an alternative soundtrack to scenes in the overgrown, radioactive zones of Tarkovsky’s Stalker, using an anachronistic palette of analogue machinery to emphasise a sense of fluid, shimmering motion and out-of-place-and-timelessness that genuinely goes straight to the head with trippy effect. 

Swampy slow techno horror themes vacillate with decayed pastoral panoramas and windows of synthetic optimism, both lush and disquietingly needling, using dissonance and sweeps of hazy noise to ultimately spell out a foreboding but dreamlike sort of electronic subterfuge and suspense that resonates with the nostalgic Stranger Things score as much as Leyland Kirby’s Intrigue & Stuff series.


BUY!

Not Waving - Redacted 2 [ELP023]

Ros Sereysothea - I Will Starve Myself to Death

Mayo Thompson - Horses

OSF004 Nur Jaber - Weapons Of Mass Destruction EP
Vinyl & Digital 
This is a tribute to the Politicians of the world.
The power hungry.
The pigs of war.  
They play us like chess
Brainwashing our minds.
Polluting our lungs. 
Controlling us like puppets.
Hiding behind closed doors.
As we fight their battles. 
What is next?

Weapons of Mass Destruction

OSF004 | Nur Jaber - Weapons of Mass Destruction EP

Self

Poor

saw, left

Writer Frances Morgan talks with contemporary composers Tom Richards, James Bulley and Sarah Angliss about optical sound and its framing in history, considering the work of electronic music pioneer Daphne Oram (1925–2003).

Talk: Daphne Oram and Optical Sound, 2018

Sound it Out # 27: Laetitia Sadier - "Find Me the Pulse of the Universe"
http://boingboing.net/2012/06/15/laetitia-sadier-find-me-th.html

Laetitia Sadier -  Find Me the Pulse of the Universe

Read our review here: http://www.self-titledmag.com/2012/10/12/if-you-like-emeralds-youll-love-laurie-spiegel/

Laurie Spiegel - "Patchwork"

Delia Derbyshire -  Pot Au Feu

In A Jazzy Style by Daphne Oram

Daphne Oram is best known for her design of her Oramics system, and also for co-founding the BBC Radiophonic Workshop in 1958. At the time of writing, the only easily available piece of music by her on CD has been the 8 minute long ‘Four Aspects’. There was also a 7” EP from 1962 on HMV, released as part of the ‘Listen, Move and Dance’ series that was specifically designed to help children dance. Although the short pieces on this record are very basic it could be argued that this was the first ever electronic dance record! 
Now for the first time is a survey of nearly all the major pieces that she produced since her departure from the BBC in January 1959 until her final tape piece in 1977. During this time she worked independently in her home studio, and thanks to a grant from the Gulbenkian Foundation in 1962 she was able to persue her interest in developing her own electronic music. In Britain there were no state funded studios other than the Radiophonic Workshop which in its earliest times mainly existed at the behest of the drama studio and was not generally seen as a place to develop personal artistic ideas. There were also no university studios at this time, so it was necessary for British electronic composers to be self funded. Throughout this period she devoted her attention to developing her Oramics ‘drawn sound’ system, which consisted of a large machine that enabled patterns drawn on transparent 35mm film to be converted into sound. This system was eventually fully realised in the late 60’s and several pieces here incorporate its use.
The 2 and a half hours of music on this 2CD set covers the whole range of Oram’s post BBC output. All of the music is electronic with some occassional use of instruments, especially small percussion and piano frame. There is also some use of musique concrète techniques. The works fall roughly into the following catagories: works for TV and cinema advertising, film soundtracks, music for theatre productions, installations and exhibitions as well as concert pieces and several studio experiments. Also included are 4 mini compositions that resulted from an experimental music course given by Oram at a high school in Yorkshire in 1967.

Daphne Oram - rotolock

joelewalinga