transcendental traveler - erik wycisk + r.s.stropharia (20.11.2021)

work of monday

*Original tapes of the "meta maschine" project (1994) with audio recordings of Jean Tinguely‘s sound installation "Méta Harmonie II" (Kunstmuseum Basel, 1993)

Méta Machine, Part V / ulrich langenbach / marc schaffroth

Siesta

Paul Beaudoin
Antoine Beuger
Joep Dorren
Kevin Leomo
Angie Rojas
Sabine Schall
Emmanuelle Waeckerlé
Levin Eric Zimmerman

Composers Meet Composers 2022
Haan, Germany
August 24, 2022

the surface of the night [2020] Composers Meet Composers 2022

DUBIOUS ABBREVIATIONS

New Way to Play

Sound source: https://freesound.org/people/8ahpu/sounds/238303/

Photo credit: https://www.publicdomainpictures.net/en/view-image.php?image=362454&picture=subway-tunnel-station

Transit Study #5

https://viakosmische.bandcamp.com/track/great-god-mars

Great God Mars

With the upcoming Keith Rowe celebration in Berlin just around the corner, reflecting upon how Prepared Guitar noise crossed cultural boundaries. Pink Floyd in 66/67 a band of the London arts scene. Legend has it that Keith Rowe influenced Syd Barret to do improper things for the guitar that no other Pink Floyd guitarist cared to explore. I found this idea more plausible than Syd being stoned or aggressive -- although both artists might have found they shared a transgressive feeling for how such noises are the thang to challenge the thinking about the thang. While there's nothing in Syd's guitar sound surpassing anything Hendrix hadn't blown through several times with the vitality of ten thousand cats, it's also more complicated to think it through the Keith Rowe perspective. Hendrix's path, in my reading, was, yes, to found his own sound, gain his freedom, but also to destroy the white western exploitation culture with the rage of the slave uprising through the electrified blues and render, as a result, an American problem and treasure. In the last days, Jimi wanted to bring it back home and play deep electro-acoustic blues and rock the studio like CAN influenced by Stockhausen on shrooms. Keith's sound was already detached from folk traditions, more consciously post-modern (self-historicizing, self-contextualizing -- to lay the emotional guitar down, pushed away from the body), and few people really want to deal with that new kind of wilderness he explored in HARSH, where you see shards of what he maybe transmitted to Syd and which Jimi knew very well but never lived to take out of the rock and roll physicality context. Prepared Guitar music doesn't really exist if the guitar is not really involved, though. This track is all about those cross-over moments between the psychedelic movement and fluxus and free improv and indeterminacy. Syd was still in a rock band rooted in the Black Music of the Colonies and then they got rid of him. Noise has maybe messages beyond human aesthetic.

Syd B Keith R

Isomatatic

Glasgow-based researcher and composer of experimental music exploring silence, quietude, fragility, and the in-between.

I co-host @essential-blends podcast and lead @soundthoughtglasgow.

Community and Engagement Manager, College of Arts & Humanities at the University of Glasgow.

the surface of the night [2020] Composers Meet Composers 2022

Kevin Leomo

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