Category Archives: electronic music

Goodbye 2023

classical, electroacoustic, electronic music, experimental music, Gone Gone Gone, improvisation, jazz, music, obituary, progessive rock, psychedelic music, vocal, , , , , ,
Jeff Beck

We lost another batch of big name musicians in 2023 including Jeff Beck, Burt Bacharach, Robbie Robertson, Gordon Lightfoot, Carla Bley, Charles Gayle, David Crosby, Ahmad Jamal, Tony McPhee, Shane MacGowan, Sinéad O’Connor, Tony Oxley, Kaija Saariaho and Tina Turner.

I was especially saddened to learn of the passing of a couple of people who used to send me their music to air on my radio programme over the course of my 25 years on the radio. Both Gloria Coates and Steve Roden have made their way onto the list this year.

Ed Ames (American actor and singer for Ames Brothers)
Katherine Anderson (American singer for The Marvelettes)
Stanley Appel (British television producer for Top of the Pops)
Kirk Arrington (American drummer for Metal Church)
Clarence Avant (American music executive and film producer, founder of Sussex Records)
Burt Bacharach (American Hall of Fame composer, six-time Grammy winner)
Robbie Bachman (Canadian hard rock drummer for Bachman-Turner Overdrive)
Tim Bachman (Canadian guitarist for Bachman-Turner Overdrive)
Ian Bairnson (Scottish musician for The Alan Parsons Project)
Philip Balsam (Canadian songwriter for Fraggle Rock)
Clarence Barlow (British composer)
Bruce Barthol (American bassist for Country Joe and the Fish)
Russell Batiste Jr (American drummer for The Meters)
Jeff Beck (British guitarist for The Yardbirds, The Jeff Beck Group)
Harry Belafonte (American Hall of Fame musician)
Tony Bennett (American singer)
Karl Berger (German jazz pianist, composer, and educator)
Jane Birkin (English-French singer and actress)
Jeff Blackburn (American songwriter and guitarist for Blackburn & Snow, Moby Grape)
Carla Bley (American jazz composer and musician for Jazz Composer’s Orchestra)
Peter Brötzmann (German jazz saxophonist)
Pete Brown (English poet, lyricist and singer)
Angelo Bruschini (English guitarist for Massive Attack)
Dennis Budimir (American jazz and rock guitarist for The Wrecking Crew)
Jimmy Buffett (American singer-songwriter)
Colin Burgess (Australian rock drummer The Masters Apprentices, AC/DC)
Bobby Caldwell (American singer and songwriter)
Ronnie Caryl (English guitarist for Flaming Youth, Phil Collins)
Paul Cattermole (English singer for S Club 7)
Monte Cazazza (American artist and composer)
Gloria Coates (American composer)
Tony Coe (English jazz musician)
Michael Cooper (Jamaican musician for Inner Circle)
David Crosby (American songwriter and singer for Crosby, Stills, Nash & Young)
John Cutler (American record producer and audio engineer for Grateful Dead)
Dean Daughtry (American keyboard player for Atlanta Rhythm Section)
Richard Davis (American jazz bassist)
Charlie Dominici (American singer for Dream Theater)
Bobby Eli (American guitarist for MFSB)
Simon Emmerson (English record producer, DJ, and musician for Afro Celt Sound System)
José Evangelista (Spanish composer)
Johnny Fean (Irish guitarist for Horslips)
John Fitzpatrick (Irish violinist for Nightnoise and Jeff Johnson)
Jeffrey Foskett (American singer and songwriter for Beach Boys)
Pete Garner (British bassist for The Stone Roses)
Charles Gayle (American jazz saxophonist and pianist)
Renée Geyer (Australian singer)
John Giblin (Scottish bass player for Kate Bush)
Astrud Gilberto (Brazilian samba and bossa nova singer)
Brian Godding (Welsh jazz rock guitarist for Blossom Toes, Centipede)
Myles Goodwyn (Canadian singer for April Wine)
Jim Gordon (American convicted murderer and musician for Eric Clapton, Derek and the Dominos)
John Gosling (English keyboardist for The Kinks)
Bruce Guthro (Canadian singer-songwriter and musician for Runrig)
Dickie Harrell (American Hall of Fame drummer for Gene Vincent and the Blue Caps)
Wee Willie Harris (English rock and roll singer)
Steve Harwell (American singer for Smash Mouth)
Fuzzy Haskins (American singer for Parliament-Funkadelic)
Redd Holt (American jazz drummer)
Brad Houser (American musician for Edie Brickell & New Bohemians)
Ron Howden (English drummer for Nektar)
Ralph Humphrey (American rock drummer for The Mothers of Invention)
Rudolph Isley (American songwriter and singer for The Isley Brothers)
Chuck Jackson (American R&B singer)
Ahmad Jamal (American jazz pianist)
Stu James aka Slater (British music executive and singer for The Mojos)
Bob Johnson (British guitarist, singer and songwriter for Steeleye Span)
Scott Johnson (American composer)
Howie Kane (American pop singer for Jay and the Americans)
Seán Keane (Irish fiddler for The Chieftains)
Scott Kempner (American guitarist for The Dictators)
Terry Kirkman (American songwriter and musician for The Association)
Jean Knight (American singer)
David LaFlamme (American singer and violinist for It’s a Beautiful Day)
Denny Laine (English musician for Wings and singer for Moody Blues)
Bill Lee (American jazz musician and film composer)
Rita Lee (Brazilian singer for Os Mutantes)
Mylon LeFevre (American Christian rock singer)
Linda Lewis (English singer-songwriter)
Gordon Lightfoot (Canadian Hall of Fame singer-songwriter)
David Lindley (American musician)
Lord Creator (Trinidadian-born Jamaican singer-songwriter)
Robin Lumley (British jazz keyboardist for Brand X)
Ralph Lundsten (Swedish composer)
Laura Lynch (American musician for Dixie Chicks)
Shane MacGowan (Irish singer for The Pogues)
Steve Mackey (English record producer and bassist for Pulp)
Bernie Marsden (English rock guitarist for Whitesnake)
Manny Martínez (American drummer for The Misfits)
Brian McBride (American musician for Stars of the Lid)
Les McCann (American jazz musician)
Tony McPhee (English guitarist for The Groundhogs)
Randy Meisner (American musician for Eagles)
Mendelson Joe ( Canadian singer-songwriter)
Butch Miles (American jazz drummer)
Essra Mohawk (American singer-songwriter)
Francis Monkman (English musician for Curved Air)
Napoleon XIV (American singer)
Peter Nero (American pianist and conductor for Philly Pops)
Chas Newby (British early bassist for The Beatles)
Sinéad O’Connor (Irish singer)
Blackie Onassis (American rock drummer for Urge Overkill)
Tony Oxley (English free improvising drummer, co-founder of Incus Records)
Jon Povey (British musician for Pretty Things)
Lisa Marie Presley (American singer-songwriter)
Alberto Radius (Italian guitarist and singer-songwriter for Formula 3)
Alan Rankine (Scottish musician for The Associates)
Lee Rauch (American drummer for Megadeth)
Lance Reddick (American actor and musician)
Otis Redding III (American singer for The Reddings)
Sheldon Reynolds (American guitarist for Earth, Wind & Fire)
Robbie Robertson (Canadian musician for The Band and film composer)
Sixto Rodriguez (American singer-songwriter)
Steve Roden (American contemporary artist and musician for Forms of Paper)
Bernt Rosengren (Swedish jazz tenor saxophonist)
Gary Rossington (American Hall of Fame guitarist for Lynyrd Skynyrd)
Andy Rourke (English bassist for The Smiths)
Kaija Saariaho (Finnish composer)
Ryuichi Sakamoto (Japanese musician for Yellow Magic Orchestra)
Renata Scotto (Italian operatic soprano for La Scala)
Don Sebesky (American composer, arranger, and conductor)
Bob Segarini (American-Canadian radio presenter and musician for The Wackers)
Jah Shaka (Jamaican dub and reggae sound system operator)
Sweet Charles Sherrell (American bassist for James Brown)
Wayne Shorter (American jazz saxophonist)
Ray Shulman (English musician for Gentle Giant)
Mick Slattery (British guitarist for Hawkwind)
Huey “Piano” Smith (American R&B pianist and songwriter)
Tom Smothers (American comedian, musician for Smothers Brothers)
Floyd Sneed (Canadian drummer for Three Dog Night)
Jack Sonni (American musician for Dire Straits)
Seymour Stein (American Hall of Fame music executive, founder of Sire Records)
Lester Sterling (Jamaican saxophonist for The Skatalites)
April Stevens (American singer)
Mark Stewart (English musician for The Pop Group)
Chris Strachwitz (American record company founder and executive for Arhoolie Records)
Barrett Strong (American singer and songwriter)
Yukihiro Takahashi (Japanese drummer and singer for Yellow Magic Orchestra)
Ted “Kingsize” Taylor (British singer and guitarist for Kingsize Taylor and the Dominoes)
Teresa Taylor (American drummer for Butthole Surfers)
Charlie Thomas (American Hall of Fame singer for The Drifters)
George Tickner (American rock guitarist for Journey)
Top Topham (English guitarist for The Yardbirds)
Ismaïla Touré (Senegalese musician for Touré Kunda)
Vivian Trimble (American musician for Luscious Jackson)
Trugoy the Dove (David Jude Jolicoeur) (American rapper for De La Soul)
Tina Turner (American-born Swiss Hall of Fame singer)
Dwight Twilley (American singer-songwriter)
Nancy Van de Vate (American composer)
Conny Van Dyke (American singer and actress)
Tom Verlaine (American musician for Television)
John Waddington (English guitarist for The Pop Group)
Geordie Walker (English guitarist for Killing Joke)
Lillian Walker (American singer for The Exciters)
Algy Ward (English heavy metal bassist for The Damned)
André Watts (American pianist and academic)
Cynthia Weil (American Hall of Fame songwriter)
Lasse Wellander (Swedish guitarist for ABBA)
George Winston (American pianist)
Fred White (American Hall of Fame drummer for Earth, Wind & Fire)
Roger Whittaker (British singer-songwriter)
Mars Williams (American saxophonist for The Waitresses, The Psychedelic Furs)
Gary Wright (American singer-songwriter and musician for Spooky Tooth)
Gary Young (American drummer for Pavement)

Kaija Saariaho

Goodbye 2022

avant-garde, classical, electroacoustic, electronic music, experimental music, folk / folk-rock, Gone Gone Gone, improvisation, jazz, Krautrock, music, obituary, progessive rock, psychedelic music
Klaus Schulze

Once again, many big names have left us. From Christine McVie to Angelo Badalamenti. As a fan of electronic music coming out of Germany since the 1970s, the deaths of both Klaus Schulze and Manuel Göttsching hit particularly hard. Also the deaths of Indian musicians Shivkumar Sharma and Lata Mangaeshkar.

The following list is just a small representation of some of the people that we have lost over the past year.

Jerry Allison (drummer for The Crickets)
Bruce Anderson (American guitarist for MX-80)
Jon Appleton (American composer and educator)
Angelo Badalamenti (American film and television composer for Twin Peaks, Blue Velvet)
Chris Bailey (Kenyan-born Australian musician and songwriter for The Saints)
John Beckwith (Canadian composer, writer and pianist)
Thom Bell (Jamaican-born American songwriter, arranger and record producer)
Sir Harrison Birtwistle (English composert)
Jet Black (English drummer for The Stranglers)
Gary Brooker (English singer-songwriter and pianist for Procol Harum)
Boris Brott (Canadian conductor)
Mira Calix (South African-born British visual artist and musician)
Irene Cara (American singer and actress)
Aaron Carter (American singer)
Steve Broughton (British rock musician for Edgar Broughton Band)
Manny Charlton (Scottish rock guitarist for Nazareth)
Coolio (American rapper)
Julee Cruise (American singer, musician and actress)
George Crumb (American composer)
Betty Davis (American funk and soul singer)
Jerry Doucette (Canadian musician)
Norman Dolph (American songwriter and record producer)
Lamont Dozier (American Hall of Fame songwriter, record producer and singer)
Martin Duffy (English keyboardist for Primal Scream)
Judith Durham (Australian singer for The Seekers)
Shirley Eikhard (Canadian singer-songwriter)
Ralph Emery (American disc jockey and television host)
Anton Fier (American composer, producer, and drummer for The Feelies, The Golden Palominos)
Andy Fletcher (English Hall of Fame keyboardist for Depeche Mode)
Ricky Gardiner (Scottish composer and guitarist Beggars Opera)
Mickey Gilley (American country singer)
Robert Gordon (American rockabilly singer)
Manuel Göttsching (German musician for Ash Ra Tempel)
Guitar Shorty (American blues musician)
Terry Hall (English singer for The Specials)
Ronnie Hawkins (American-Canadian rock and roll singer-songwriter)
Taylor Hawkins (American musician for Foo Fighters)
Paavo Heininen (Finnish composer and pianist)
Judy Henske (American folk singer)
Jeff Howell (American rock bassist for Foghat)
Toshi Ichiyanagi (Japanese composer and pianist)
Susan Jacks (Canadian singer-songwriter for The Poppy Family)
Philip Jeck (English composer)
James Johnson (American blues guitarist for Slim Harpo)
Jimmy Johnson (American blues guitarist and singer)
Wilko Johnson (English guitarist for Dr. Feelgood)
Syl Johnson (American blues singer)
Naomi Judd (American country singer for The Judds)
Danny Kalb (American blues guitarist for The Blues Project)
William Kraft (American composer and conductor)
Mark Lanegan (American singer-songwriter and musician for Screaming Trees)
Michael Lang (American concert producer, co-creator of Woodstock)
Keith Levene (English guitarist for Public Image Ltd., The Clash)
Gord Lewis (Canadian guitarist for Teenage Head)
Jerry Lee Lewis (American Hall of Fame singer and pianist)
Ramsey Lewis (American jazz pianist, composer)
Radu Lupu (Romanian pianist)
Loretta Lynn (country singer-songwriter)
Lata Mangeshkar (Indian playback singer and composer)
Ingram Marshall (American composer)
Dan McCafferty (Scottish songwriter and singer for Nazareth)
C. W. McCall (American country singer)
Ian McDonald (English musician for King Crimson)
Christine McVie (Fleetwood Mac, Chicken Shack)
Meat Loaf (American singer)
Charnett Moffett (American jazz bassist)
Grachan Moncur III (American jazz trombonist)
Massimo Morante (Italian guitarist for Goblin)
James Mtume (American percussionist for Mtume)
Rachel Nagy (American singer for The Detroit Cobras)
Sandy Nelson (American drummer)
Olivia Newton-John (British-Australian singer)
Nichelle Nichols (American actress on Star Trek and singer)
Mo Ostin (American record executive for Warner Bros. Records)
Mimi Parker (American singer and drummer for Low)
Ric Parnell (English drummer for Spinal Tap)
Kelly Joe Phelps (American blues musician)
Paul Plimley (Canadian free jazz pianist and vibraphonist)
Ned Rorem (American composer)
Badal Roy (American tabla player, percussionist and recording artist)
Bobby Rydell (American singer and actor)
Paul Ryder (English bassist for Happy Mondays)
Pharoah Sanders (American jazz saxophonist)
Klaus Schulze (German electronic musician and composer for Tangerine Dream, Ash Ra Tempel)
Jim Schwall (American blues musician for Siegel–Schwall Band)
Alexander Scriabin (Russian musicologist and composer)
Jim Seals (American songwriter and musician for Seals and Crofts)
Burke Shelley (Welsh bassist and vocalist for Budgie)
Paul Siebel (American singer-songwriter)
Shivkumar Sharma (Indian composer and santoor player for Shiv–Hari)
Mark Shreeve (British electronic songwriter and composer)
Kim Simmonds (British rock guitarist for Savoy Brown)
Lucy Simon (American composer and folk singer for The Simon Sisters)
Ronnie Spector (American Hall of Fame singer for The Ronette
Fredy Studer (Swiss drummer)
Creed Taylor (American jazz trumpeter and record producer, founder of Impulse! Records and CTI Records)
R. Dean Taylor (Canadian singer-songwriter)
Nicky Tesco (British singer for The Members)
Barbara Thompson (English jazz saxophonist for Colosseum)
Nik Turner (English musician for Hawkwind)
Ian Tyson (Canadian singer for Ian & Sylvia)
Vangelis (Greek film composer and musician for Aphrodite’s Child)
Fred Van Hove (Belgian jazz musician)
Natty Wailer (Jamaican musician)
Norma Waterson (English musician for The Watersons)
Alan White (drummer for Yes)
Roland White (American bluegrass music artist)
Don Wilson (American guitarist for The Ventures)
Drummie Zeb (English reggae record producer and musician for Aswad)

Christine McVie

Goodbye 2021 (another year to forget)

2021, avant-garde, classical, electroacoustic, electronic music, experimental music, folk / folk-rock, improvisation, jazz, music, obituary, progessive rock, psychedelic music
Jon Hassell

2021 was yet another year when Covid-19 dominated the news. I’m sure that we’re all glad to see the end of it. Let’s all hope for a better 2022.

The following list is just a small representation of some of the people that we have lost over the past year.

Louis Andriessen (Dutch composer for La Commedia)
Astro (British singer and musician for UB40)
Chris Barber (English jazz bandleader and trombonist)
Andy Barker (British musician for 808 State)
Byron Berline (American fiddler)
Jay Black (American singer for Jay and the Americans)
Tim Bogert (American rock bassist for Bogert & Appice)
Juini Booth (American jazz double-bassist for Sun Ra Arkestra)
Leslie Bricusse (British composer)
Gil Bridges (American musician for Rare Earth)
Ron Bushy (American drummer for Iron Butterfly)
Sylvano Bussotti (Italian composer, poet, and artistic director for Puccini Festival)
Alan Cartwright (English rock bassist for Procol Harum)
Malcolm Cecil (British musician for Tonto’s Expanding Head Band, Blues Incorporated and record producer for Stevie Wonder)
Joel Chadabe (American electronic music pioneer)
Emmett Chapman (American jazz musician, inventor of the Chapman Stick)
Michael Chapman (English singer-songwriter and guitarist)
Richard Cole (English music manager for Led Zeppelin)
Charles Connor (American drummer for Little Richard)
Billy Conway (American drummer for Morphine)
Gary Corbett (American rock keyboardist for KISS, Cinderella)
Chick Corea (American jazz keyboardist)
Paul Cotton (American musician for Poco)
DMX (American rapper)
John Drake (American singer for The Amboy Dukes)
Graeme Edge (English drummer for The Moody Blues)
Les Emmerson (Canadian singer for Five Man Electrical Band)
Sergio Esquivel (Mexican singer-songwriter)
Don Everly (American Hall of Fame singer for The Everly Brothers)
Bobby Few (American jazz pianist)
Pat Fish (English musician for The Jazz Butcher)
George Frayne IV (American country singer and keyboardist for Commander Cody and His Lost Planet Airmen)
Denny Freeman (American blues guitarist and keyboardist)
Curtis Fuller (American jazz trombonist)
Djivan Gasparyan (Armenian musician and composer)
James Mac Gaw (French guitarist for Magma)
John Goodsall (American-British rock guitarist for Atomic Rooster, Brand X)
Milford Graves (American jazz drummer for New York Art Quartet)
Burton Greene (American jazz pianist)
Nanci Griffith (American singer-songwriter)
Tom T. Hall (American singer-songwriter)
Jon Hassell (American trumpeter and composer)
Roger Hawkins (American drummer and recording studio owner for Muscle Shoals Sound Studio)
Dusty Hill (American songwriter and musician for ZZ Top)
John Hinch (British drummer for Judas Priest)
John Dee Holeman (American Piedmont blues guitarist, singer and songwriter)
Paul Humphrey (Canadian musician for Blue Peter)
Paul Jackson (American jazz bassist for The Headhunters)
Stonewall Jackson (American country singer)
Bob James (American rock singer-songwriter for Montrose)
Joey Jordison (American musician for Slipknot)
Richard H. Kirk (English electronic musician for Cabaret Voltaire)
Bob Koester (American music executive, founder of Delmark Records)
Alexi Laiho (Finnish death metal singer-songwriter and guitarist for Children of Bodom)
Rick Laird (Irish jazz fusion bassist for Mahavishnu Orchestra)
Alan Lancaster (English rock bassist for Status Quo)
Anita Lane (Australian singer-songwriter for Nick Cave and the Bad Seeds)
Bob Lanois (Canadian record producer and recording engineer)
David Lasley (American singer-songwriter)
John Lawton (English hard rock singer for Uriah Heep)
James Levine (American conductor and pianist for Metropolitan Opera)
Janice Long (English disc jockey for BBC Radio 1)
Alvin Lucier (American composer)
Kenny Malone (American drummer)
Junior Mance (American jazz pianist and educator)
Carlos Marín (Spanish singer for Il Divo)
Jon Mark (English singer-songwriter and guitarist)
Pat Martino (American jazz guitarist and composer)
Nobesuthu Mbadu (South African mbaqanga singer for Mahotella Queens)
Count M’Butu (American percussionist for The Derek Trucks Band)
Biz Markie (American rapper and actor)
Gerry Marsden (English musician for Gerry and the Pacemakers)
Barry Mason (English songwriter)
Marilyn McLeod (American singer-songwriter)
Les McKeown (Scottish singer for Bay City Rollers)
Mensi (English punk rock singer for Angelic Upstarts)
John Miles (British singer-songwriter and musician)
Mike Mitchell (American musician for The Kingsmen)
Paddy Moloney (Irish musician for The Chieftains)
Everett Morton (Kittitian-born British drummer for The Beat / The English Beat)
Juan Nelson (American bassist for Ben Harper and the Innocent Criminals)
Michael Nesmith (American musician for The Monkees)
Melvin Parker (American drummer for James Brown)
Anthony Payne (English composer)
Lee “Scratch” Perry (Jamaican reggae songwriter and musician for The Upsetters)
Ralph Peterson Jr (American jazz drummer for The Jazz Messengers)
Christopher Plummer (Canadian actor for The Sound of Music)
Dee Pop (American drummer for Bush Tetras, The Gun Club)
Lloyd Price (American R&B singer)
Peter Rehberg (Austrian-British electronic musician for KTL)
Mike Renzi (American composer and music director for Sesame Street)
Jimmie Rodgers (American pop singer)
Frederic Rzewski (American composer and pianist for The People United Will Never Be Defeated!)
Phil Schaap (American disc jockey and jazz historian)
Al Schmitt (American recording engineer)
Robbie Shakespeare (Jamaican bassist for Sly and Robbie)
Sonny Simmons (American jazz saxophonist)
Joe Simon (American soul and R&B singer)
Johnny Solinger (American singer-songwriter for Skid Row)
Stephen Sondheim (American composer and lyricist for West Side Story)
Phil Spector (American record producer)
Michael Stanley (American rock guitarist, singer and songwriter)
Pervis Staples (American Hall of Fame gospel singer for The Staple Singers)
Robby Steinhardt (American singer and violinist for Kansas)
Jim Steinman (American musician, composer and lyricist)
Dean Stockwell (American actor and recording artist)
Sylvain Sylvain (American guitarist for New York Dolls)
Gene Taylor (American pianist for Canned Heat, The Fabulous Thunderbirds)
B. J. Thomas (American singer)
Mikis Theodorakis (Greek composer)
Rosalie Trombley (Canadian music director for CKLW)
U-Roy (Jamaican reggae singer)
Hilton Valentine (English Hall of Fame guitarist for The Animals)
Leo van de Ketterij (Dutch guitarist for Shocking Blue)
Yoshi Wada (Japanese sound installation artist and musician)
Bunny Wailer (Jamaican reggae singer for Bob Marley and the Wailers)
Rusty Warren (American singer for Knockers Up!)
Charlie Watts (English drummer for The Rolling Stones)
George Wein (American festival promoter and jazz pianist for Newport Jazz Festival)
Chuck E. Weiss (American songwriter and vocalist)
Mary Wilson (American singer for The Supremes)
Rusty Young (American musician for Poco)
Wanda Young (American singer for The Marvelettes)

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Alvin Lucier
Richard H. Kirk

Wendy Carlos: A Biography by Amanda Sewell

avant-garde, books, electroacoustic, electronic music, experimental music, music, , , , , , , , ,
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In 1968, Wendy Carlos was thrust into the limelight with her synthesizer interpretations of the music of J.S. Bach. The LP Switched-On Bach caught the attention of both classical and non-classical music listeners alike.

As a child, Carlos began playing piano and eventually composing her own works. At the same time, she also developed a keen interest in electronics. By the time she was in high school in the early 1950s, she had built her own home computer.

Her interest in both music and electronics led to her studying composition at Columbia University with two pioneers in electronic music – Vladimir Ussachevsky and Otto Luening. It was during this time that she learned the trade of working in a recording studio and eventually met up with Robert Moog.

Her relationship with Moog was a fruitful one in which she provided much feedback to the electronics engineer regarding the design and construction of devices which would eventually be incorporated into Moog’s modular synthesizers.

Carlos’ meticulous sound construction process would eventually lead to her experimenting with producing a piece of music by Bach. The concept of an entire album of synthesized Bach works was presented to Columbia Records by her long-time collaborator Rachel Elkind and it was agreed to issue the set on their Masterworks classical label.

After its release in October of 1968, the set was so popular that it held the number one spot on Billboard’s Classical Music chart for three years. By the mid-70s, its sales surpassed a million copies in the US alone.

In 1969, she released a second LP entitled The Well-Tempered Synthesizer which included works by Bach and other classical composers.

1972 saw the release of an expansive double LP set entitled Sonic Seasonings. Here, she devoted each side to a different season and used a combination of real-world nature recordings combined with synthetic sounds to produce evocative soundscapes. This was well before Brian Eno introduced his concept of “ambient music” on such recordings as Discreet Music and Music for Airports.

It was around this time that Carlos was invited to record music for Stanley Kubrick’s upcoming film A Clockwork Orange. In the end, only a small portion of her recordings made its way into the film and original soundtrack album. But, she eventually released her own works on a separate LP.

In the 1980s Carlos began working with digital synthesizers and created her album Digital Moonscapes. The versatility of the digital domain also made her want to experiment with alternate keyboard tunings such as microtonal scales with as many as 35 notes per octave. This resulted in the LP Beauty in the Beast. As the ’80s drew to a close, she collaborated with “Weird Al” Yankovic on a unique take on the work Peter and the Wolf.

The 1990s saw Carlos enter a partnership with the label East Side Digital where she would eventually re-issue remastered versions of her older albums (and previously unissued material) as well as her final album to date entitled Tales from Heaven and Hell.

Of course, one cannot cover the life and work of Wendy Carlos without acknowledging the path of her personal life. The most obvious aspect of which was her gender transition which took place over several years. Author Amanda Sewell does not side-step this part of Carlos’s life and treats the subject with care and respect. This includes the effect which is had on both her personal and professional life.

The biography of Wendy Carlos is an engrossing read about a musical pioneer whose work helped to bring attention to the world of electronic music and provide a vision of music’s future.

Isolation Viewing: Krautrock

electronic music, experimental music, Krautrock, music, progessive rock, psychedelic music, , , , ,

Whether or not you are still feeling the isolation blues, it’s always nice to have something to watch. Especially in the way of interesting musical clips.

I sometimes scour youtube in search of enticing tidbits in the way of music. I quite often discover some quite interesting stuff.

Back in the ’70s, progressive music from Germany started to make inroads outside of the country and the British music press soon latched onto it giving it the name Krautrock. Some of the names which soon became familiar were Can, Amon Duul II, Kraftwerk, Cluster, Tangerine Dream and Neu! to name but a few.

Here are a few clips which I’ve collected for your viewing pleasure.

Kraftwerk on the German TV programme Beat Club ca. 1971. What is interesting here is that it is Florian Schneider accompanied by Michael Rother and Klaus Dinger who would later go on to be known as the duo Neu!

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Here is another German TV clip for 1971 featuring Ralf and Florian with Wolfgang Flur on his freshly built electronic drum set.

Now, here is Can ca. 1970 on the German programme Rockpalast. Nearly an hour and a half. The Damo Suzuki era.

A wonderful documentary which covers the band’s career. Another hour and a half of Can bliss.

Here is a groovy set by Amon Duul II from Beat Club in 1970.

A compilation of Amon Duul II material spanning 1969 to 1975. Over two hours!

Here is a very unique clip of Tangerine Dream live in Berlin, 1969. This was before they acquired synthesisers and were a psychedelic, freak-out group. Edgar Froese, guitar. Klaus Schulze, drums. “Happy” Dieter, bass (according to the video notes).

The legendary performance of Tangerine Dream at Coventry Cathedral in 1975.

Well, that should keep you busy for a while!

Kraftwerk: Future Music from Germany by Uwe Schütte

books, electronic music, experimental music, Krautrock, music, , ,
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The news that Kraftwerk co-founder Florian Schneider had passed away at the beginning of May was one of those announcements that seemed to strike a particularly resonant note for me. I had first heard their music long before their breakthrough album Autobahn courtesy of a radio programme featuring import albums back in the early ’70s. They were one of my personal inspirations to start making electronic music.

It was certainly a much more pleasant experience to learn of a new biography of Kraftwerk was being published by Penguin Books earlier in the year.

Kraftwerk: Music of the Future by Uwe Schütte is a rather succinct volume which covers the careers of co-founders Florian Schneider and Ralf Hütter. The pair met at school in the turbulent days of the late ’60s and immediately hit it off. In 1968, they formed a band called Organization who released a sole LP called Tone Float (only in the UK as German record companies had no interest in their work).

Keeping their base in their hometown of Düsseldorf, the pair then went on to create the concept of Kraftwerk (literally translated a Power Station). Their early work did include electronics but also guitar, flute and drums. Much of this work was based around improvisation and electronic sound manipulation.

Their first three releases were prime examples of their work at the time. It’s unfortunate that to this day these albums basically been written out of the band history and not been any part of a re-issue program for their recordings.

For Kraftwerk, it was their fourth album – Autobahn – that denoted the beginning of their recording career. It’s the album (and song) that brought the group to international attention (although, it was virtually ignored in their own country).

They subsequently built up their reputation with their next three releases of the ’70s – Radio-Activity, Trans Europe Express and The Man Machine. It was also at this point that their work started to reverberate into other forms of music. It became an influence in electronic dance music and what would develop into techno.

They brought in the ’80s with Computer World with it’s ubiquitous Pocket Calculator emanating from radios around the world.

After that, the space between album releases would become much greater. It was another five years before the release of Electric Cafe and another seventeen years until the Tour de France Soundtracks (with a stop-gap remix effort called The Mix in 1991).

But, that doesn’t mean that Kraftwerk were inactive during these long apparent silences. As the author points out, Kraftwerk were not really a “band”. They considered themselves to be a multi-media project. They spent a lot of time concentrating of visual elements to their work, as well. Stage presentations, museum exhibitions… you name it, they seemed to have their finger in it.

In the past twenty years, Kraftwerk were very active in the area of live performances. The miniaturisation of their music producing gear helped a great deal in this regard.

Throughout the book, Schütte puts the efforts of Kraftwerk in the context of the music, society and art of the times and also details how it affected the future of music. It is a good overview of their music and art helped to shape many things to come.

John Cage tribute – photos and video

avant-garde, electroacoustic, electronic music, experimental music, music, , , , , , , , , , , , , ,

I am most pleased to report that the event Ocean of Silence: A Tribute to John Cage was an unequivocal success. A good size crowd attended the event at the theatre in Museum London and even more viewed the event from around the globe via a live stream of the proceedings.

The live stream footage has now been archived and is available to view via the link below.

Just click.

 

Audience member Howie Kittelson took some photos of the show and kindly granted his permission to post them here.

The full stage setup with Timothy Glasgow’s modular synthesizer in central focus.

The drug will reach to you at sildenafil sales an early day. The Sildenafil Citrate 100mg used in the drug makes it the most celebrated generic medicament for men harrowed with erectile brokenness issue. buying generic cialis Teenagers, young men and middle aged can be afflicted by this. Check Prices buy cialis in usa Stabilizing mood, alleviating depression, reducing buy cialis cheap fever, decreasing inflammation and improving blood circulation are main health benefits of shilajit. Two views of Alex Schmoll’s gear which was used to perform a backdrop for text by Angie Quick.

My prepared guitar setup.

Richard Moule’s prepared violin setup.

Thanks again to Anita and Melanie at Museum London. A big thanks to Tim, Alex, Angie and Richard for participating. Many thanks to Alex’s audio support team and Chuck at Museum London for their excellent work.

 

A Tribute to John Cage concert

avant-garde, electroacoustic, electronic music, experimental music, music, , , , , , , , , , , ,

Sometime during the late summer of 2016, I was spending a lazy Sunday afternoon listening to music. On this specific occasion, one of the CDs that I was playing was called Fifty-Eight by the American composer John Cage. As I scanned the liner notes of the disc, it suddenly occurred to me that 2017 would mark the 25th anniversary of Cage’s death in August of 1992. This made me reflect upon how the words and music of John Cage made their way into my life.

Back in the early 1970s, I found myself gaining an interest in avant-garde music of the contemporary classical variety. I was still living in Windsor at the time and would spend a great deal of time at the downtown main branch of the public library. It was there that I delved into books about this genre of music and could also borrow LPs from the library collection.

After reading a number of books, the one name that seemed to crop up more than any other was that of John Cage. His way of composing involved processes which likely sounded pretty crazy to many listeners of Bach, Mozart and Beethoven.

Cage would experiment with putting bits and bobs between the strings of a piano in an effort to completely change the sound which it produced. This became known as “prepared piano.” He also composed percussion works for ensembles which included such items as automobile brake drums.

He used the I Ching as well as maps of constellations in order to explore new and different ways to create compositions. He also found much of interest in using chance operations and indeterminacy. These parameters could create a new sounding work each time that a composition was performed. Some works could also be performed by superimposing one composition on top of another for an even greater end result.

By 1980, I had purchased my first synthesizer and used it to create abstract sounds and compositions which no doubt owed some debt to John Cage among many other contemporary composers.

So, in 2016, I had the idea to create an event which would celebrate John Cage in a novel manner. Instead of simply arranging to have people perform his works, I wanted to present an example of how, some 25 years after his passing, his ideas and sounds continue to be an influence on composers and performers into the 21st century.

With this idea in mind, I approached Museum London to see if they would be interested in helping to present this performance to the public. I was very pleased to hear of their enthusiastic support for the idea. And now, almost 25 years to the day (he actually passed away August 12, 1992), we plan to celebrate the ongoing influence of Cage’s work.

The evening will feature three performances of new works. Timothy Glasgow will create sounds using a modular synthesizer setup. This assemblage of electronic modules is especially interesting in that the results of turning a small dial or flipping a switch can reveal unintentional and surprising sounds. This is an excellent example of Cage’s approach to randomness and indeterminacy.
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Alex Schmoll and Angie Quick will present another take on Cage. For their contribution, Alex will create a backdrop of synthetic sounds while Angie reads extracts from Cage’s numerous writings. The snippets of the writings will be arranged in a random manner in order to create a unique presentation.

The evening will conclude with a performance by the Transmorphous Sound Ensemble which consists of myself along with Richard Moule. For our contribution entitled 1+1 4 JC, I will utilize a prepared table-top guitar setup while Richard will use a prepared violin. This will be accompanied by a new video work which I have created specifically for this event.

In keeping with the idea of a 25th anniversary, each performance is set to clock in at 25 minutes.

Event details:

Ocean of Silence: A Tribute to John Cage

Transmorphous Sound Ensemble

Alex Schmoll & Angie Quick

Timothy Glasgow

Thursday, August 24, 7:00 PM

$10 advance / $15 door

(advance tickets available @ museumlondon.ca)

Museum London, 421 Ridout St., London, Ontario, Canada (519-661-0333)

 

Cosey’s Tale

avant-garde, books, electronic music, experimental music, music, , , , , , , , , ,

Cosey Fanni Tutti – art sex music (Faber)

Many people may know Cosey from her work with Throbbing Gristle or Chris & Cosey. But, the story that led up to that point (and beyond) is certainly a tale worth exploring.

In her new autobiography, Cosey details her formative years growing up in Hull on the east coast of England. Hers was a working class background which found her wanting to branch out and explore the arts and music. Her home life was eventually shattered when her strict father kicked her out. While she would still carry on a (fairly covert) relationship with her mother as well as her sister, she found herself dealing with the world on her own.

Eventually, she would connect with a man who was known as Genesis P-Orridge. The partnership became both personal and artistic as they created a body of performance works under the moniker of COUM.

COUM was a loose group of artists from various backgrounds who came and went leaving Cosey and Gen as the main constants of the organization. Through various performances or “actions,” COUM’s profile began to rise… not always from a “positive” response.

They pushed the boundaries of society’s accepted norms and managed to stir up a lot of outrage in the process.

Cosey also had her own ideas for actions and projects related to getting involved in the sex industry. This was done via nude modelling, stripping and films. I was her way of creating a portfolio which could then be used in her future actions and art.

Along the way, one of the others who would become involved was Chris Carter who was keen to add his knowledge of electronics to the group and bring their works into a more “musical” direction. Chris would also serve as the person with whom Cosey would eventually pair up with and leave the possessive/abusive clutches of Gen.

When Peter “Sleazy” Christopherson entered the picture, the bones of Throbbing Gristle would soon come to fruition. Cosey, Chris, Gen and Sleazy decided that the direction to go was a full-on sonic assault on the senses.

Keep your doctor updated with the possible results or changes in after the intake of levitra 10 mg appalachianmagazine.com. An interesting study has shown that bodybuilders taking drug components to boost their performances. levitra prices canada More Product Information Pharmacies are often cialis cheapest busy and aren’t always able to provide their customers with any negative results. We recommend that you gulp absolute http://appalachianmagazine.com/2019/10/02/the-time-georgia-north-carolina-went-to-war-with-each-other/ viagra overnight shipping & entire precise details on gulping of each pill; you find the right products for losing weight here. TG certainly did leave their mark along the way. They created the Industrial Records label as the outlet for their sound-works and performed many gigs which would leave ears ringing for days.

Their time together as a quartet may have been relatively short but, they became known as the pioneers of Industrial music.

Upon the breakup of TG, Chris and Cosey began their own musical work together. They recorded many LPs and performed worldwide. (A personal side-note: I brought Chris and Cosey to Canada in 1985 to perform a half dozen shows across the country.)

As Chris and Cosey made music, Gen formed Psychic TV and Sleazy the band Coil. But, the TG legend continued to build over the years and offers to re-form began to happen. The harrowing details of these gigs are related in brutal detail with Gen becoming an eternal antagonist in the situation.

In recent years, the reputation of Chris and Cosey’s duo work lead to a vinyl re-issue campaign which saw their work appreciated by a new generation of music fans. At the time, they had adopted the Carter Tutti name and would do performances billed as Carter Tutti Play Chris and Cosey.

In addition to the music and art, Cosey relates a number of scary health related incidents involving herself, Chris and their son Nick.

The stories in this book are related with a direct honesty which often can make the reader run through an amusement park ride of emotions. Not the least anger and frustration at some of the details of events.

It’s an inspiring read, to say the least.

Chris Meloche with Cosey Fanni Tutti, Sandringham House, England, 1986. Photo: Chris Carter.

Silent Records Lives Again

avant-garde, electroacoustic, electronic music, experimental music, improvisation, music, , , , , ,

Silent Records was the brainchild of label founder Kim Cascone. Throughout the 1980s and ’90s, Silent issued many recordings of interesting music spanning several genres including ambient, industrial and beat-oriented sounds.

In 1996, Kim invited me to issue something on his label after becoming familiar with my work on the FAX label from Germany. So, twenty years ago(!) my album Distant Rituals was released on Silent Records.

It was around this time that Kim left the label and sold it to an employee. Unfortunately, this change of hands did not work out well and the label folded in 1997. So, for nearly 20 years many great recordings have remained out of print.

Fast forward to 2016 and Kim has decided to re-boot Silent Records. In recent months, he has managed to track down most of the core artists who are still living and active. That includes me.

In the coming months, many of the long out of print recordings will start to make a reappearance via various media platforms. In addition to this, he has also managed to create a brand new compilation release entitled From Here to Tranquility 6. This latest installment in the series includes recent recordings by many of those core artists from years gone by. My work entitled Onlooker will be featured on the set. It will be available for download or as a limited edition CD release.
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There will also be a second volume of this set which features artists which have some relationship with the label (but, not as a core artist). This release will be made available as a download-only item.

In addition to re-issuing Distant Rituals, Kim has inquired about the re-release of some of my other long out of print material. Stay tuned as there will be more information coming in the future.

At the present time, Silent Records now has its own devoted streaming channel via SomaFM. Please visit the site to hear some wonderful ambient sounds from the past. This is just the beginning to the channel. Musical content will soon be expanding.

It’s all very exciting news and I wish Kim Cascone the best for his venture in the future!

The Silent Channel on SomaFM

Exposure for Canadian contemporary music (or lack thereof)

avant-garde, classical, electroacoustic, electronic music, experimental music, improvisation, jazz, music, , , , , ,

During my 25 years on the radio, I always took great pleasure in featuring the music of countless Canadian composers and musicians. These included works from the world of contemporary classical, electroacoustic and out jazz music. While it was great to share this material with the audience of a community radio station, it was not quite the audience that this music could have been receiving from a national broadcaster.

Over the years, the CBC (Canada’s national broadcasting service) has gone through many changes and these have often resulted in these types of music getting even more marginalized.

Canadian composer Paul Steenhuisen recently put together a letter to send to the Canadian League of Composer which addressed the situation of contemporary music and its status on the CBC. Paul has graciously given me permission to re-post his letter here.

Please read this letter in order to gain a greater understanding of the challenges that people like me (an electroacoustic composer) face when trying to get our music exposed to more people.

From Paul Steenhuisen to the Canadian League of Composers:
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Following up on my recent FB post, I’ve written a letter to the Canadian League of Composers. I include the letter here in order that others can read it, and perhaps add their comments. The letter was addressed to CLC President Brian Harman and the Head of the Advocacy Committee, Ian Crutchley. Others cited in my original FB post were Christien Ledroit, David Pay, and David Jaeger. Hopefully good things will happen.

“As a former longtime Canadian League of Composers Council Member, past ISCM Canadian Section President, composer, and contemporary music and public broadcasting advocate, I am requesting that the CLC, in its role as representative of Canadian composers, direct resources toward renewing its working relationship with the Canadian Broadcasting Corporation, for the benefit of the status of the artist in Canada.

The past decade has seen the removal of the CBC’s composer commissioning program, the demise of the CBC Vancouver Radio Orchestra, the cancellation of Two New Hours (the primary broadcast venue), the abandonment of recording of Canadian contemporary music, the end of the Young Composers Competition, and removal of other Classical Music radio programming. The accumulation of these actions amounts to the decimation of all resources previously, historically, and successfully devoted to Canadian contemporary music by the CBC, and the severance of the relationship between our flourishing field and the public broadcaster. While in some areas the CBC has diversified its programming, with the absence of Canadian composers and Classical music programming, it has moved toward significantly more commercial programming, at the expense of its responsibilities to the 1991 Broadcast Act. The Broadcast Act states that the CBC is mandated to provide programming that is “distinctively Canadian,” “actively contribute(s) to the flow and exchange of cultural expression,” to “make maximum use of Canadian creative and other resources in the creation and presentation of programming,” to “safeguard, enrich and strengthen the cultural, political, social and economic fabric of Canada,” and serve as “a public service essential to the maintenance and enhancement of national identity and cultural sovereignty.” Over the course of just over a decade, the CBC has perpetrated significant, quantifiable cultural and economic damage to the fields of Contemporary and Classical music in Canada.

In addition to developing and maintaining regular dialogue with the CBC to regenerate their investment in Canadian contemporary music through recordings, broadcasts, and commissions, etc., it would be prudent to determine the formal process for how new programs are proposed and developed, create a list of producers amenable to new programming initiatives, determine ways in which composers work could be included in current programming, and compile a set of resources that would assist CLC constituents in establishing meaningful communication with the CBC regarding our shared musical interests. More specifically, I am also requesting that the CLC, in combination with the organizers of the ISCM World New Music Days (Vancouver 2017), work towards securing national broadcast commitments by the CBC. The ISCM World New Music Days is an important international festival that will showcase top-level music, performers, and composers, and is an ideal opportunity for the CBC to be reminded of the quality, interest, and value of artists and individuals contributing to this wide-ranging field of creative music. While various other new media is available for making concerts available, nothing can currently match the awareness and exposure that can be obtained through the radio and television resources of Canada’s longstanding public broadcaster.

Please note that in discussion with the CBC, some individuals are inclined to distort and manipulate important terminology required for the presentation and understanding of accurate broadcast statistics. While demonizing art music as elitist, they have simultaneously sought to co-opt the term composer to apply to singer-songwriters and anyone who makes music. They have also attempted to transform the terms contemporary music and new music to mean anything recent, and inclusive of anything, such as commercial, pop, rock, hip-hop, electronica, and other forms of musical expression. By doing so, they will argue that they play more contemporary music by Canadian composers than they ever have, while knowing that this is untrue based on historically accepted definitions of the terms. Meanwhile, the CBC’s inclusion of composers associated with the Canadian Music Centre, including electroacoustic music, is near zero. The CBC is mandated to be an alternative to commercial interests, driven by cultural responsibilities rather than commercial ones.

With a new government that has stated its commitment to restoring the CBC, and new funds being promised to the public broadcaster, it is critical for the Canadian League of Composers to devote significant and ongoing resources to forging a meaningful role for Canadian art music at the CBC. There is a wealth of wonderful music being made and performed by artists of the highest level in Canada, and the field has expanded and changed – it is a cultural loss to Canadians that the CBC is currently not part of it. My hope is that with the advocacy of the CLC (perhaps in combination with the Canadian New Music Network), the current circumstance will change and our collective, active role in Canadian culture will once again be reflected by our public broadcaster.”

Brian Eno – An Interesting Interview

electroacoustic, electronic music, experimental music, improvisation, music, progessive rock, , , ,

Anybody who has known me for the past 40 odd years will probably recall that one of my favourite artists back in the ’70s was Roxy Music. They formed an interesting hybrid of both musical and visual styles which I found immensely unique and intriguing.

In 1973, band member Brian Eno left the group and started his own musical career. His path was even more interesting to me as it spanned rock music and electronic sounds. I was also very lucky to be able to sit in on a live radio interview that he did on CJOM-FM in Windsor, Ontario back in July 1974. It was there that I discovered a common interest in German bands of the day such as Can, Neu!, Cluster and Kraftwerk.

Eno’s experiments with sound – ambient, long-duration works etc… – eventually became an integral touchstone for the music which I would begin to create a few years down the road.

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Dieter Moebius (Cluster): 1944 – 2015

electroacoustic, electronic music, experimental music, Gone Gone Gone, improvisation, Krautrock, music, vinyl, , , , ,

Dieter Moebius was one of the founding members of the avant-garde experimental trio known as Kluster who formed in Berlin in the late ’60s. Along side fellow artists Hans-Joachim Roedelius and Conrad Schnitzler, they produced a trio of records which were abstract sound collages.

After the departure of Schnitzler (who was also a founding member of Tangerine Dream), the remaining duo re-branded themselves as Cluster. In this incarnation, the duo produced several recordings of wonderful minimalist electronic soundscapes.

In the early 1970s, new music from German began filtering into the UK. The sounds of Cluster along with Can, Amon Duul II, Tangerine Dream, Neu! and Kraftwerk began to make inroads outside of their native land.

One person whose ears were opened to these sounds was Brian Eno. He subsequently recorded albums in collaboration with the Cluster duo.
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Both Moebius and Roedelius recorded many solo albums over the years. They also continued to work together as well as joining Neu! guitarist Michael Rother as a trio called Harmonia.

The sounds made by Moebius and Roedelius not only made an impact on a new generation of electronic music artists in the 1970s but, continue to be felt to this day.

In the early 1980s, I was half of an electronic music duo called M104 along with Werner Albert. The greatest compliment that we received about our music was that we were the Canadian version of Cluster. Enough said.

Obituary at The Guardian website.

 

Recent Arrivals – Discus

electroacoustic, electronic music, experimental music, improvisation, jazz, music, Recent Arrivals, vocal, , , , , , , , ,

DiscusCDs-Tippetts&Archeretc...-flat

One of the best things about doing a radio programme featuring non-mainstream music for many years was receiving music from like-minded folks from around the globe. Such was the case back in the ’90s when I received a package of CDs from Martin Archer on his Discus label.

Martin continued to send me music and I continued to feature it on the airwaves. We also corresponded quite frequently and a musical relationship built up. In the ensuing years, we have played together live many times on my visits to the UK and we’ve also contributed to each other’s recordings.

When I visited Martin in Sheffield last June, he was in the midst of about a dozen different recording and performance ventures. At that time, he played me a number of recordings that he was working on. Many of these are now available on this latest trio of double-CD releases.

Vestigium is the latest collaboration between Martin and vocalist Julie Tippetts. Every release in their series of works seems to magically rise above the previous  set. This is no mean feat as each of their projects are quite wonderful affairs.

This latest set is no exception as the individual works often vary drastically in their sound but manage to create a bigger picture which holds all of them together. Sonic backdrops can be minimal and shimmering with the vocal lines drifting through the landscape. Other times, a steady bassline and percussion beat bring the funk to the fore.

Listening to these works, it seems like both Martin and Julie were destined to lock their creative energies together. Julie’s dexterous vocalizations meld perfectly with the music. Martin’s ear for detail and the ability to create subtle layers for the vocals makes for a tapestry of aural delights. The final work in the set – Stalking the Vision – is a fine example of this sonic synergy in action.

Some men experience the condition for a few days, with no awkward levitra for sale online conversations at all. They are just not satisfied with the type of educational content material that is needed, you might discover this capsule as a harmless http://appalachianmagazine.com/2018/1/page/2/ viagra generika drug. The essential fatty acids also aid in the absorbency of necessary vitamins buy sildenafil online like Vitamin A, D, E, and K. 9. Heart failure is even known as congestive heart on sale here levitra 10 mg failure. Bad Tidings from Slackwater Drag is by Martin’s ten-piece big band called Engine Room Favourites. From the introductory tune – Song for Alice Coltrane – you know that you are in for a good ride. Tracks range from dense and frenetic to minimal improvised structures.

At times, I was put in the mind of Soft Machine and also was reminded of Julius Hemphill’s Big Band. The latter thought was confirmed as the concluding number of the set is a cover version of Hemphill’s classic track The Hard Blues. And ERF do a most admirable job in their performance.

Inclusion Principle’s Third Opening shows even more diversity for Martin and his cohorts. This is a trio which also includes Herve Perez and Peter Fairclough.

On this set, the sounds range from environmental field recordings, computer-generated sounds, saxophones, piano and percussion. From minimal soundscapes to wild hyper-rhythms, the pieces blend and weave their way through two CDs of diverse sonic contexts.

Definitely three more highlights for the ever-expanding Discus catalogue.

Discus Music website

 

 

Future Days by David Stubbs

books, electronic music, experimental music, improvisation, Krautrock, music, vinyl, , , , , ,

FutureDays-book

Subtitled “Krautrock and the Building of Modern Germany” this book takes the reader on a journey through the heady days of the German experimental music scene from the late sixties into the seventies.

Stubbs begins with a lengthy prologue which traces the social developments of the country through the 20th century. This is done to provide a perspective on what was to come after the Second World War.

After he has established the state of the minds of the German youth through the sixties, he then relates the stories behind the major groups who began creating experimental music.

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He finishes by discussing newer music as well as the influence of the German music on specific musicians (David Bowie) and musical scenes (post punk).

For those not intimately familiar with this music, it may serve as a good introduction to stir up some curiosity. For those of us who are already quite well-versed in the genre, there are still some facts that are revealed that may be new to us.