A poem I wrote this morning, our wood boiler here on the farm up north recorded some cold winters ago, some favorite shortwave sounds and some other, simple electronic manipulations, plus an old, upright piano.

TEXT:

I keep a body attached to my name,
but really, to me, that's all the same
I was offered that wild vicious name with some fame
Now I hang in the balance, deep in the game

>but hey and hi hoe
I've got nothing to show,
”do nothing at all”,
that's my duty call<

Body's stooping through Name's vile circumstance,
Name rocking and rolling its identity dance
and I'm a dedicated biker, so don't call me Lance,
step aside, best move on if I make an advance

Name's running out of places to be,
Body's searching for spaces, from mountain to sea
All I hear from myself is sarcasms and glee,
think I'll change my name to Old Henry Lee

>but hey and hi hoe
I've got nothing to show,
”do nothing at all”,
that's my duty call<

Body's moving on downwind as fast as it can
If I still drove a car, I'd get myself a van,
but my climate conscience won't lift its ban,
which explains, if you saw me, I probably ran

Dylan once wrote a song called The Hurricane,
a good storytel song, even if not his main
No one could keep Dylan under his rein
Any fool trying that is fooling in vain

>but hey and hi hoe
I've got nothing to show,
”do nothing at all”,
that's my duty call<

Now I'm lagging behind in my Crazy Wolf attire,
hearing my name called out in a sordid mixed choir
From handle to break runs a Shimanistic wire,
I sigh like the wind, they call me The Sigher

Name's rolled up in dreamless sleep,
Body's down in unconscious mud, sinking deep
If I was The Reaper I'd make sure to reap
but at the edge of the world everything's too steep

>but hey and hi hoe
I've got nothing to show,
”do nothing at all”,
that's my duty call<

I rise and I fall like Flingel Bunt
This here existence ain't no easy stunt
All I seem to think of is a good humid cunt
and a covenant with Jahve gone obsolete, to put it blunt

COVENANT

What a morning, monday fusion morning at Kutt.Air. all stages are closed, some tired ravers go to bed, some to the Wackstelzen Stage to kick the last pills, but some open up their ears and come down with fine tunes out of the jukebox from @sui_so and Parole Emil!
Sorry to the Kutter Crew, we didn't ment to breake the ravy mood so fast, but there was this guy, passing us a huge spliff right in the beginning. From there on, our way was paved.... 
A session to brush the auditory canals free from the constant bass of the last days.

Fusion Festival 2022 - Kutter bei die Fische - Sui b2b Parole Emil!

En vue d'un projet autour de texte d'Henry Koek, nous avons fait deux séances, l'une le 22 l'autre le 23. Le 22, nous avons juste jouer, sans que je connaisse les textes. Le 23, Henry a choisi et expliqué les textes, et noius nous sommes mis d'accord sur quelques éléments musicaux, juste deux ou trois mots.
Cet extrait est ici pour une courte période. Il sera retiré d'içi une à deux semaines!

musiquepoésie

GOM EXTRAIT DE LA SÉANCE DU 23 DÉCEMBRE

On 28 May 2006 I recorded the birds in the great castle park at Tista Castle in Sweden; a place where Greta Garbo spent much time. This is the first of a few such recordings from that park.

Tista Ornithology 1

Tista Ornithology 1 (0225 AM - 0344 AM)

Tista Ornithology 0225 AM - 0344 AM

Quest (2011-12) - viola & saxophone
Music written to accompany a dance for dancer Miranda Wheen choreographed by Martin del Amo
Premiere performance from Chronology Arts' 'Synchronicity' (February 2012)

Quest - Alex Pozniak

eliska (and the falling stars) : written and read by @megwaf - inspired by the #vss365 prompts during March 2019

eliska : written and read by @megwaf

Make You Feel My Love

Part of a new Album of GOM : Energy Confinement Fusion 

Christophe Meulien & Henry Koek  You can find the Album on
https://gommusic2.bandcamp.com/

Contact  remote collab Henry Koek & Christophe Meulien / GOM

In the fall of 1988 I sent Sune Karlsson a package with some recordings I'd done for fun, of another friend's electric razor, me playing with some forks, plus some other household items. He reacted with a massive recording spree in his tiny apartment in Danderyd, Stockholm, recording 12 hours of household sounds. He called the collection PHONIA DOMESTICA. This  is a sample with a vacuum cleaner and a newspaper.

ANEMONIA E

This is the first in a series of my own recordings of my diaries, starting with this one; the first one, from the summer of 1963, when I was 14 years.
I kept my old diaries meticulously over the decades, and recently I began scanning them into pdf-files. That gave me the idea to record them. I hadn't opened these books in 57 years, and it proved a revelation to me, like having a rendezvous with myself over these decades; a magic feeling.

1963 - DAGBOK 1 / Diary 1

„very sad ‚amusic‘ (sound art), a sounding SCHWITTERS“
This is a quotation from a letter of Nam June Paik to Dr. Steinecke (8th December 1958). Paik tried to do music (or better: ‚amusic‘) in the spirit of Kurt Schwitters.
Perhaps Schwitter's "Merzkunst" is sometimes melancholic, but never really sad, however it never lacks of playfulness.
This installative sound collage tries to be "faithful" to the spirit of Schwitter's art. Not at least also using materials from his epoch. Doing sound art with acustic garbage, but not only…
Schwitters is been a master of collage and assemblage.
He said: „Merz means to create relationships, preferably between everything in the world“.

Cover image - Kurt Schwitters, Collage (1944)

Theatrum Phonosophicum
(© Leopoldo Siano & Shushan Hyusnunts, 2020)

https://arefoundation.com/en/the-magic-of-collage

sehr traurige „Amusik"  (Tonkunst),  ein klingende[s] SCHWITTERS  [excerpt]

Biker, hiker, poet, skier, sound artist, photographer, FORMER horse rider, retired crime investigator

COVENANT

Ingvar Loco Nordin

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