To celebrate a year of lockdown lunacy, in this special anniversary show we invite survivors from the very first PlaguePod to come back and tell us what their COVID highlights have been. Reza Negarestani, Miguel Prado, Shaun Lewin, Amy Ireland, and Xenogothic are among the guests. DJK Huysmans is in the house to provide Hariboid sounds. Plus snack testing, Chaney's Czech-in, and the Inexplicable Scots from Beyond.

Support the cause
https://ko-fi.com/readthiswtf

Get your PlaguePod T-Shirt at https://www.urbanomic.com/product/plaguepod-t-shirt/

PlaguePod Live (New Variant), Year 2 Day 1

Lucy Liyou’s music carries with it deeply personal poetry, in a literal and metaphorical sense, conveyed using sound collage, noise, field recordings, and abstracted pop tendencies. When Notice first heard Lucy’s music, we were struck by its incredible honesty, vulnerability, and originality. For her first collaboration, A Need/A Want, she is joined by Philadelphia-based guitarist and lyricist Yska. Bizarre shards of Yska's electric guitar permeate Lucy’s deft and supple production techniques as the sounds contained throughout the two pieces produce moments of confusion, bliss, and catharsis. Using text-to-voice and largely unprocessed singing, the duo's lyrics present a refreshing and striking potency: “I’ve only been there once; and only for a little while; she walked like lavender; swaying, leaning…”. Music this honest and also so carefully crafted is a true treasure, and A Need/A Want is a testament to musicians honing their visions in a very unique way.
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NTR068 - Lucy Liyou - Yska - A Need - A Want - "A Need"

Each installment of this ongoing portfolio series features an original audio recording by a musician, composer, or sound artist along with their commentary. Projects range from raw documentation of live performances to sound collage and experiments with aleatory music. Click here for more details: https://bombmagazine.org/articles/field-recording-3/

Lea Bertucci: Field Recording #8

From the Neptunalia LP compilation (LAL-92 / IKU-054). Edition of 300. Release day hopefully July 23rd.

NEPTUNALIA, a festival of Neptune, celebrated at Rome, of which
very little is known. The day on which it was held, was probably the 23rd
of July. The festival was celebrated with games. Respecting the ceremonies
of this festival nothing is known, except that the people used to build
huts of branches and foliage, in which they probably feasted, drank, and
amused themselves.
From a "Dictionary of Greek and Roman Antiquities" by John Murray, London,
1875.

Side A:
David Edren - Whale Bubbler
H. Takahashi - Deep
Nuslux - Hippocampi
Olli Aarni - Eliksiiri A & B
Ilpo Numminen - Speleothem

Side B:
H. Takahashi - Coral
Non Local Society - Latiaxis Mawae
Kuupuu - Jään alle
Marja Ahti - Silent Floor
Miaux - Rip Current at Avalon Beach

Compiled by Roope Eronen
Cover Art by Leon Sadler
Mastered by Tommi Keränen
Laquer cut at Duplates and Mastering

Lal Lal Lal & Ikuisuus, 2018

Miaux - Rip Current at Avalon Beach

French composer Melaine Dalibert has before quoted Deleuze, referring to his own compositional practice as working on (and with) the behaviour or "space-time blocks". Here his philosophy unravels specific to the covid-19 pandemic; a beautifully spare and minimalist solo piano work, taking the form of a 20-minute long rallentendo which reflects the drop in tension that we are experiencing.

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Music written & performed by Melaine Dalibert. Recording and mastering by Hervé Jegaden & David Launay.

TR002 - Melaine Dalibert 'Un Long Ralentissement' [sample]

Juliet: j'ai choisi ce texte pour noues rappeler que rester avec noues même, nos ressentis corporels, nos émotions, nos désirs, nos plaisirs, n'est pas un égoïsme, mais un pouvoir qui accompagné d'une lecture politique et d'une stratégie d'émancipation collective est révolutionnaire!

AUDRE LORDE - de lusage de l'erotisme l'erotisme comme puissance, 1978

Takuroku has been supporting new work by artists made during lock-down, but now and again we’ll be releasing lost archival gems that we feel need to be heard. This is one of the latter: A fiery session between two key players in OTO’s international community, featuring Denmark’s Julie Kjaer (saxophone) and Thurston Moore (guitar), recorded at neighbouring experimental music hub The Hundred Years Gallery.

Fans of Rudolph Grey/Arthur Doyle and Kaoru Abe/Masayuki Takayanagi explosive symbiosis will relish here in Julie & Thurstons’ bellied roars, tonal dips and dives and thick sheets of sound. Ecstatic spiritual crescendos emerge and collapse, but during which never lose their sense of focus and imaginative interplay. Here’s hoping this duo can play again once things are back to normal (whenever that maybe be).

50% of OTO’s share of the proceeds of this release will be passed to Hundred Years Gallery. Please support their great work in the experimental music community.

New Life Music

TR062 - Thurston Moore & Julie Kjaer - 'New Life Music' [sample]

This unique LP on the legendary Bärenreiter-Musicaphon label, which presents an appealing sonic excursion of Southeast and East Asian traditional and folk music, including rare tracks from private and historical recordings, is available for Flac and MP3 download on my blog:
https://music-republic-world-traditional.blogspot.com/2020/09/indonesia-thailand-cambodia-china-japan.html

Musik in Asien II – Südost- & Ostasien – BM 30 SL 5107

Wu Wen-Guang  plays Chiu-K'uang (Wine Madness)

Das "Orchestre du LÖTLÄB" der Galerie Pfund & Dollar performte zum "Festival für selbstgebaute Musik" 2020 in 3 Akten auf dem RAW-Gelände in Berlin zu ihrer Elektroschrott-Sound-Installation "DE-OBSOLESZENZIATOR". Dies ist der dritte Teil.

mit: Ada Grüter | Max Gausepohl | Benjamin Wiemann | Robert Craven | Lukas Kannemann aka "kskefk" | Johannes Hassenstein aka "Acid At The Mall"

Teil 2/3 ist hier: https://soundcloud.com/derkleinefreitag/presents-orchestre-du-lotlab-de-obsoleszenziator-23 bei @derkleinefreitag zu finden.

"Die Obsoleszenz ist allgegenwärtig und doch immer nur versteckt und (zu) selten diskutiert. Als ein treibender Faktor des kapitalistischen Systems und des damit verknüpften Kreislaufs von "Neukauf und Entsorgung" anstelle von "Instandsetzung oder Nutzungsänderung" ist diese Methode der geplanten Begrenzung der Haltbarkeit diverser Produkte als quasi systemerhaltend (wegwerf-)gesellschaftlich akzeptiert bzw. kaum hinterfragt. Die Klang-Installation "De-Obsoleszenziator" führt genau diese Realitäten ad absurdum, indem dem veralteten, kaputten, ungenutzten, am Straßenrand hinterlassenen sogenannten "Elektroschrott" neues Leben in Form einer Stimme eingehaucht wird. Druckermotoren getrieben von Merklin-Trafos, die Zeit ihrer angedachten Tätigkeit kilometerweise Papier umgewalzt haben, dürfen nun an Saiten klingend in die Jahre gekommene, von TFT abgelöste Röhrenmonitorgehäuse zum schallen bringen während weggeworfene Lautsprecherboxen knopfgesteuert in von Hardware leergefegten Computergehäusen schnarren. Ob das hier entstehende Klangerlebnis als ein melodisch Schönes zu verstehen ist, wäre anzuzweifeln. Doch die Idee hinter dem von Benjamin Wiemann und Lukas Kannemann initierten Repurposing-Projekts (welches nun in der Galerie Pfund&Dollar in Hamburg in Form einer regelmäßigen Bastelsession genannt LÖTLÄB ein Zuhause findet) ist auch nicht einen wohltönenden Zusammenklang zu erzeugen sondern eher den Augenmerk auf die oben beschriebene gesellschaftliche Disharmonie und den Umgang mit den uns zur Verfügung stehenden Resourcen zu lenken."

DEOBSOLESZENZIATOR 3 - Festival für selbstgebaute Musik, RAW berlin, 2020

DE-OBSOLESZENZIATOR 3 - Festival für selbstgebaute Musik, RAW Berlin, 2020

Prix Field Recording / Paysage sonore du Musée Réattu / Ville d'Arles
37’28, une production R{A}DIO{CUSTICA}, Czech Radio Vltava, (République Tchèque)

Basée sur des enregistrements réalisés à l’intérieur des territoires d’Amanã et de Mamirauá au centre de l’Amazonie, la pièce propose des perspectives inhabituelles (en surface, sous l’eau et dans le registre des ultrasons), invitant à évoluer dans un monde singulier de vitalité et d’altérité non humaines.

Pablo Sanz est un artiste-compositeur-chercheur. Il vit entre l'Espagne et l'Irlande du Nord. Sa pratique forme une enquête sans fin sur l’acte d’écoute, avec un accent sur les limites de la perception et de l’attention, encourageant une conscience écologique sensorielle.

“Pablo Sanz livre une pièce d’une grande richesse en timbres, fréquences, dynamiques, avec un travail très fin sur les plans sonores. La première séquence, qui va guider toute l’écoute, met joliment en oeuvre la démarche d’écologie radicale développée par la philosophe Vinciane Despret : celle de nous situer face aux autres espèces animales comme des individus face à d’autres individus, de les percevoir non simplement comme des représentants de leur vaste famille, mais dans leur singularité de sujets. Nous voilà à proprement parler interpellé·es et questionné·es par ces “étranges étrangers”. Juliette Volcler (Jury 2020)

Wu Wen-Guang plays Chiu-K'uang (Wine Madness)

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