To begin with I would like to thank you for coming to listen to what I have presented you today. Staying true to my motto of creating experimental electronic music that results from unscripted jam sessions, here comes my latest upload which features plenty of quirky sounds and curious samples.

As always, the Boss RC-300 loop station is the MIDI clock master to which I sync my humble Eurporack. As an inspiration for the whole session, I played back the Youtube video "Minimal Glitch - Modular Improv" by Modular Cult (@user-451526715), just to start things going, and then I added my sounds on top of his experiment and also modulated his original soundscape in order to put my spin on the whole affair. To spice things up, I decided to employ yet another Youtube video, "Saraz Handpan F Harmonic Minor 9" by Saraz Handpan. Since I love the intricate but calming timbre of handpans, I employed sounds of this lovely handpan playing F Harmonic Minor, that I put through the Mutable Instruments Clouds which was heavily modulated, again, to put my spin on it.

As you might have read in one of my previous write-ups, I love to include speech samples, especially by narrators who talk about music, which may or may not fit the session's narrative. This time, I settled on a lecture by Karlheinz Stockhausen, who is considered to be influential but also somewhat controversial composer, and one of the pioneers of electronic music. His explanations of changing musical moments really matched my approach, since I love to change up the flow of my jam sessions to keep things interesting. Additionally, to emphasize the transition from one particular segment of this track to another I used a famous Monty Python catchphrase.

During the course of this particular session I heavily relied on a combination of several modules, most prominently the Turing Machine with its expander Pulses, the LxD, the A-147, and the Radio Music. This setting ended up creating some glitchy rhythms, which very much reminded me of the track "Vertical Invader" by Frank Bretschneider & Taylor Deupree (@frankbretschneiderofficial, @taylordeupree). I decided so sample this track directly onto the loop station and after adjusting the tempo to my session's original tempo of 112 BPM, I was able to quite successfully incorporate this amazing minimalist track into my musical flow. 

Interestingly enough, the harmony of Vertical Invader went really well together with the sound snippets that came from the Radio Music module at this stage of the jam session. Also, the conglomeration of all these sounds matched the E Phrygian scale that I have been toying with for the last couple of weeks on my guitar and my synths. Since I am not much of a player, I decided to play back a couple of related Youtube videos and see if anything comes up that really fits the whole narrative. Indeed, in her Klezmer lessons, Robin Seletsky usually plays in E Freygish (which basically corresponds to the E Phrygian Dominant scale) and her clarinet's timbre tied the whole picture together. However, I mostly wasn't able to play back her videos in a rhythmically meaningful way, so I put many of the samples in post production.

Most of my tracks can be downloaded for free, and I encourage you to use them in your jam sessions and live sets. If you use any of my material, I really would like to know what you could come up with. So drop me a message and please give a shout-out to Mrs. Audio Boy!

MAB logo by @maxim-lichtenwald, check him out!

I hope you enjoy this one!


Samples from the following material were used:
* https://youtu.be/MFvynwLkGco
* Frank Bretschneider & Taylor Deupree - Vertical Invader
* https://youtu.be/NOSGbVNYFq8
* https://youtu.be/B83Iu_4FIIU
* https://youtu.be/M6hT2mGIlKo
* https://youtu.be/fK8nyiolmas
* https://youtu.be/7ZuAH-6E2vk

Electroacoustic Moments [Jam session sections: RAW2021 - 8]

Cartoons

Sax Alto, Drums, Organ (piano), Moog

Production Note
https://furicomusicteam.blogspot.com/p/vermilion-syncretism.html

Vermilion Syncretism

Detours

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

1995 unreleased demo, Stirling McLean
Initially planned as follow-up to It's Not Alright;
https://www.discogs.com/release/3818613-Various-Soul-CDs-Exclusive-Collection-Vol-9
Andrew McLean: Lyrics, Bass, Drum Programming, Keyboards
Rosemary Smith: Vocals
To be re-recorded due to poor demo audio tape quality!
Downloads: https://andymclean.bandcamp.com/

We Could Get Closer

Garden snail feeding on cabbage. Recorded 1979, Hull

Garden Snail eating

Hear us and friends: https://blooplondon.com/artist/orikum-vault/

Cassette Method -Narta 3

:::
my contribution
to
Naviar Records
Haiku Challenge 517

my interpretation of a
haiku
by
John Hinks
aka: FlownBlue

.
.
.

Early dawn’s pale light:
A gentle start to the day
Two seagulls gliding

ra(ge_ntle) ::: naviar haiku 517

This week, on the Global Research News Hour we are examining what is now called the  Genocide against the Tutsis in Rwanda as they took place starting 30 years ago this week, and arriving at the conclusion that this horrible tragedy was masked to conceal the truth of the actual perpetrators, the RPF, and the victims. In our first half hour, journalist Ann Garrison joins us to elaborate on  
 what her research revealed and about how the current day Rwanda is a totalitarian regine with no room for dissent on this question. Then in our second half hour, writer, and publisher Robin Philpot returns to the show to talk about his 2013 book, Rwanda and the New Scramble for Africa.

The Truth of the Rwanda Genocide: RPF the New Instrument for African Imperial Conquest

Global Research News Hour

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