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!

TEXT:

FRÄMLINGSKÅPET

Jag ställer mig i främlingskåpet,
trött på att tro mig bekant
med mig själv,
i själva verket
så bottenlöst okänd

Hullet gläds 
åt omedelbarheten
i främlingskåpets gamla dofter
av lack och bets,
i en övergivenhet
endast den överflockat primatomgivne
kan blöda näsblod av lycka över,
i främlingskåpet

I främlingskåpet
är det osagda dunkelt,
kroppen en stödjepunkt
i en omedvetenhet som förutsätter,
men inte mer

I främlingskåpet
gäller galgrasslet
i kända ekiperingars
korta klangreturer:
Ekstrand & Holving,
Stelin & Hällström,
John Larssons,
Svensk-Engelska Skrädderiet

Den jag uppkäftigt kallar ”jag”,
i brist på bättre, enligt gammal sed,
hänger sig 
åt tankeloopars blacka blockeringar
och tinnitusens tunna tusan
till Cievrraláhkuringningar
bortom Sapmis urbota urbefolkningsurringningar
i Nikkaluokta,
i ett kostbart främlingskåps du-du-dunkel;
hänger sig uppskörtad
bland fören och eftern,
smocktomt osugen, obetvivlat otrugad
av andra interna inten
i främlingskåpets skoputsferomoni,
inom förefallets förfallna följdsamheter,
följsamma, slutande kring kroppshyddans hudkostym
i tät tanttyranni,
jaguppfattningens eget ansikte 
tätt bakom främlingskåpsdörrarnas tillslutande skydd
mot semesterprimaternas bräkande, fjärtande, rapande
hopar,
zombieaktiga runt hyreslängorna
i sina livsodugliga, fula, feta hon- och hankroppar,
dumdristarnas svettiga kvitton på långvarigt lågpannade val

Främlingskåpet

FRÄMLINGSKÅPET

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

FRÄMLINGSKÅPET

Ingvar Loco Nordin

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