V/VM has released a CD of Aphex Twin plunderphonic.
In league with plunderphonic pirates and dancefloor punks like Stock, Hausen & Walkman, Kid-606, and DJ Olive, Manchester's V/Vm ("volume versus mass") crew brought a well-needed boot to the backside of the increasingly humorless dance scene of the late '90s, polarized on one side by mindless club trance and on the other by self-serious bedroom boffins. A duo comprised of James Kirby and Andy McGregor (aka Jansky Noise), V/Vm produced a series of releases notorious for their crude (but lovingly detailed) packaging, high collectability (usually only 100 to 500 copies), and, in many cases the music itself, a devastating assault on both copyright laws and hearing levels. Read more on V/VM at allmusic.com
Download V/Vm "HelpAphexTwin"4.0 MP3 previews here
Squarepusher, also known as Tom Jenkinson, is a British electronica artist signed to Warp Records. A trained bass guitar player and drummer, his style of extremely fast, cut-up beats mixed with jazz and interlaced with strange samples has gained him a cult following. He is friends with Aphex Twin and his albums have been critically acclaimed for their forward-thinking approach. The music of Squarepusher is extremely difficult to comprehend on the first listen, as his work is so different to the work of most 'normal' musicians. His brother, Andy Jenkinson, is also a recording artist, under the name Ceephax (Use the search function of this weblog to find informaton on Ceephax). More Information on Squarepusher.com
As you may have noticed, I added a drop-down menu to the right colum. Now you can directly choose a specific WIRE issue. Don't wonder if it's disapeard. I'm still testing where to put it on this page.
Aphex Twin 2002 : “My favourite artist at the moment is Ceephax Acid Crew. It's Andy Jenkinson, Tom Jenkinsons (SQUAREPUSHER) brother. Its f**king wicked. It's funny because if people ask me "So, whos going to be the next big star of electronic music?", I always say him. But he only does a new track like every three months or so. [Read More]
Der Schrei - Ein Hörspiel von Robert Lindauer und Clas Neuefeind
It's a german "spoken word cd". I don't know if "spoken word" is the right term. I didn't found the time to listen to the whole cd yet, but what I heard so far, makes me wanna get more books and CDs from the mairisch lable. You can listen to an excerpt of "der Schrei" here
I also bought a book from mairisch: "Roberta Schneider - Der Guss"
<img src="www.antville.org" align="left" hspace=""5>
Aspen, a multimedia magazine of the arts originally published from 1965 to 1971. Each issue of Aspen was delivered to subscribers in a box, which contained a variety of media: printed matter in different formats, phonograph recordings, and even a reel of Super-8 film.
About Aspen Magazine
Aspen was conceived by Phyllis Johnson, a former editor for Women's Wear Daily and Advertising Age. While wintering in Aspen, Colorado, she got the idea for a multimedia magazine, designed by artists, that would showcase "culture along with play." So in the winter of 1965, she published her first issue. "We wanted to get away from the bound magazine format, which is really quite restrictive," said Johnson.
Each issue had a new designer and editor. "Aspen," Johnson said, "should be a time capsule of a certain period, point of view, or person." The subject matter of issue number 1 and issue number 2 stayed close to the magazine's namesake ski spa, with features on Aspen's film and music festivals, skiing, mountain wildlife, and local architecture. Andy Warhol and David Dalton broke that mold with issue number 3, the superb Pop Art issue, devoted to New York art and counterculture scenes. Quentin Fiore designed issue number 4, a McLuhanesque look at our media-made society. The next issue, a double issue number 5+6, was an imaginative, wide-ranging look at conceptual art, minimalist art, and postmodern critical theory. Issue number 6A, a freebie sent to ever-patient subscribers, was a review of the performance art scene centered at New York's Judson Gallery. Next came issue number 7, exploring new voices in British arts and culture. Issue number 8, designed by George Maciunas and edited by Dan Graham, was dominated by artists of the Fluxus group. Issue number 9 plumbed the art and literature of the psychedelic drug movement. The last Aspen, issue number 10, was devoted to Asia and Asian art history. [More]
Each original enclosure of the magazine can be downloaded or viewed at the homepage of the aspen online verson.
Mauricio Kagel born in Buenos Aires on 24 December 1931, is among the most distinctive composers of contemporary music. From the very beginning his name has been associated above all with music theatre, the genre in which he has perhaps exerted the greatest impact. Besides his radical innovations in this area, however, he has also developed a highly personal aesthetic in his absolute music.
Kagel's creative output has been enormous. It encompasses not only stage, orchestral and chamber music in an extremely wide range of instrumental settings, but also film scores, radio plays and essays. Throughout its broad spectrum, his music reveals a breach with any and all forms of academicism as well as close ties to tradition, especially to the German tradition.
Imagination, originality and humour are the hallmarks of this multimedia artist. With inexhaustible powers of invention, Kagel makes use of a very wide array of expressive devices which, although often caustic and provocative, are always placed in the service of musical discourse.
Under her pseudonym Cat Power, Chan Marshall has been enthralling and occasionally infuriating listeners since the mid '90s with her poignant, pensive, sometimes self-consciously fragile brand of Southern-accented nouveau folk blues. While her flightiness is a matter of record and in the past she has been known to alienate even diehard fans with astonishingly brief live sets, she also has a dusty aching croon that pierces the heart without even seeming to try, and an elegant minimalist approach to composition that draws intelligently and emotionally from some of the most potent musical traditions. In the span of just a half-dozen releases, Marshall has carved out a personal niche for herself equal to that of any of the seminal singer-songwriters of the '70s, building a musical legacy whose reverberations will be heard for years to come.[More]
Legendary Dutch musical collective The Ex has become fantastically musically accomplished since drawing straws to determine who got to play what instrument twenty years ago, but the group has never departed from its roots in Amsterdam's anarchist squats. Even as The Ex's members approach middle age, they retain the do-it-yourself ethos and radical social agenda that have always made them such a powerfully polemical and effective musical entity.[More]
On the surface, the collaboration between Asmus Tietchens and Vidna Obmana may appear to be an unlikely one. Tietchens is a German electronic musician who has pursued "absolute music" through an almost mathematical process of rigid formal exercises. With strong ties to Karlheinz Stockhausen's early electronic work, Tietchens specializes in irregular patterns of sonic abstractions that are suspended in gray drones to create cold textural voids from external references. Vidna Obmana -- the Belgian synthesist whose real name is Dirk Sirries -- creates atmospheric moodscapes characterized by gradual shifts in tone color. Vidna Obmana's work retains a definite similarity to the evocative ambient impressions left by Brian Eno [More]
Sightings is a 3 man rock disaster from New York. The overdriven low rumbles come from the bass of Richard Hoffman, John Lockie pounds on some drums, and Mark Morgan makes ungodly noise come from his guitar and mouth. [Read more at the indipendent mind]
By accident I found some Sigur Ros MP3 files. Those of you, don't knowing about them, read what the nice people at epitonic have to they about them:
After the release of their second album (which coincided with an opening slot on Radiohead's Kid A tour), Icelandic art-rock ensemble Sigur Rós promptly became one of the most critically hyped bands in recent memory, garnering such ebullient characterizations as "the first vital band of the 21st century" and "music at its most basic, and most advanced." Then, naturally, there was the inevitable (though considerably smaller) backlash, which earned the band such vitriolic assessments of their music as this one, from the venerable Aquarius Records: "heavy-handed soundtracks to excessively melodramatic movies that patronize the audience with self-aggrandizing pseudo-philosophies and sub-Cocteau Twins vocalizing." [Read more at Epitonic.com]
Yo La Tengo continues the proud Hoboken tradition of innovation that includes The Feelies and started with Frank Sinatra, but they're musical descendents of the distinctive swirling guitar rock style pioneered by New York bands like The Velvet Underground and later expanded by Television. They're the ultimate music nerd band in many ways, conspicuously unconcerned with being fashion plates and interested only in exploring the various cobwebby corners of pop arcana, from folk-pop to garage rock to post-punk to shoegazer and beyond, and reinterpreting it in an idiosyncratic and endearing style that is unmistakably Yo La Tengo [Read More at epitonic.com]
This article collects all the links to articles covering general information about this weblog.
1. What is "THE WIRE" ?
The Wire - From Wikipedia, the free encyclopedia.
The Wire is a British avant garde music magazine. It was founded in 1982 by jazz promoter Anthony Wood and journalist Chrissie Murray, and concentrated on contemporary jazz and improvised music. From about 1990 it branched out into covering left-field rock and "post-rock" (a term coined in the pages of The Wire), hip-hop, modern classical and various forms of electronic music. It continues to cover all of these and other forms of experimental music. Read the whole entry at wikipedia.org
2. How to find only the WIRE related stuff ?
Select a specific WIRE issue by clicking on "WIRE issues" in the "navigation bar". Or use the search function of this weblog, also located in the right colum, to look for certain artists. More info here
6. Little icons
beneath every entry there are some icons. By clicking the bubble, you can leave a comment on the specific entry. By clicking the square, you can add the referring entry to your del.icio.us account. The green/blue circle will add the referring entry to stumbleupon.com
The bubble icon was designed by Mark James, it is available freely on his Webpage. The ufo iconn, used to link to my second weblog is from visualpharm.com
7. email-notification
I am offering a email-notification for my weblog. So for each day I have written something new, you will receive a notification. Subscribe here
8. everything else
some more personal inormation and links to other stuff I have written
Experimental observations of the paintings of Jackson Pollock reveal that the artist was exploring ideas in fractals and chaos before these topics entered the scientific mainstream
Can science be used to further our understanding of art? This question meets with reservations from both scientists and artists. However, for the abstract paintings produced by Jackson Pollock in the 1940s and 1950s, scientific objectivity proves to be an essential tool for determining their fundamental content. Pollock dripped paint from a can onto vast canvases on the floor of his barn. Although recognized as a crucial advance in the evolution of modern art, the precise quality and significance of the patterns created by this unorthodox technique remain controversial. Here we analyse Pollock's patterns and show that they are fractal. In other words, they display the fingerprint of nature.
In contrast to the broken lines painted by conventional brush strokes on canvas, Pollock used a constant stream of paint to produce a uniquely continuous trajectory as it splattered onto the canvas below. A typical canvas would be reworked many times over a period of several months, with Pollock building up a dense web of paint trajectories. This repetitive and cumulative process -sometimes called "continuous dynamic" painting- is strikingly similar to the way in which patterns evolve in nature.[Read More]
Maybe you allready noticed that this webpage isn't as most webpages. It's changing very often, you can write comments and its called a weblog not just webpage. So what exactly is a weblog. Find more information on this topic in the wikipedia.
- information on weblogs in englisch
- information on weblogs in german
Meet Sal Randolph, the New York-based artist behind Opsound, a new online record label that has adopted the concepts of open source and copyleft and adapted them to music production. Opsound invites musicians to contribute sounds to a "sound pool" licensed under a Creative Commons Attribution Share-Alike license.[Read the whole interview]
Noriko Tujiko was born in Osaka, Japan in 1976. She began singing at the age of three, but she didn't get her first synthesizer and sampler until she was 20. She released her first record, Keshou to Heitai, in early 2001. Later that year, she met Peter Rehberg of the Mego label, and together they hatched plans for a second album.[Read more at Epitonic.com]
[MP3: Noriko Tujiko - White Film]
Mego is proud to announce the long awaited new farmers manual release! Consisting of every locatable live recording and more dating from 1995 until now and beyond on one special hybrid DVD.
The good news: The whole DVD is also available for download !
The bad news I think it's more than 5GB !!!
more info on fm:
"Farmersmanual's performance was about algorithms and their artifacts. Clicks and textural discontinuities were rampant. The demeanor of the performers was stoic: that of accountants working a spreadsheet program rather than artists expressing themselves. Despite the apparent detachment of the performers, the musical pace was extremely rapid, both in terms of events per second and the speed of textural change. At several points the performance veered towards totally unexpected textures with complete confidence and synchrony among the performers (and in keeping with the straight-faced nature of the performance, no indication that anything unusual had occurred)."
eric lyon on www.computermusic.org
The "superb as usall" BBS Collective is running a feature on Sleeve-Designer. Julian House, ehquestionmark and Non-Format are featured in part one of three. Non-Format were also responsible for the overhaul The Wire, in April 2001. Andy Votel, Rick Myers and Designers Republic are talking about theire work in part two.
A track by Arne Van Petegem, for his third for the ever excellent Morr music. Arne's recent work has included contributions to the rapturously received "Blue skied an' clear" compilation, his 7inch "To Simply Lie Here And Breathe" for Morr's “A Number of Small Thing”s and the 'Heart without a mind' ep presented last week as a taster of his new sound. Clearly, he has not been stuck for ideas since his two previous albums for Morr, bridging further the camps called 'indie' and 'electronica' which have become such comforting bedfellows over the last 12 months. "i'm what's there ...” is Styrofoam’s most poppy record to date, and like all the finest pop records, theres a lingering sense of introspection and melancholy lying scacrely below its shimmering surface. But anyone with an interest in richly textured electronic sounds will be as satisfied as those who cherish beautiful melodies, catchy tunes and lyrics. According to insound.com
As part of the process of "cleaning out her attic", as she so cleverly put it, Björk was interviewed by David Toop about her Greatest Hits and Family Tree releases.
Download them here.
Read the intreview transcript here.
In league with plunderphonic pirates and dancefloor punks like Stock, Hausen & Walkman, Kid-606, and DJ Olive, Manchester's V/Vm ("volume versus mass") crew brought a well-needed boot to the backside of the increasingly humorless dance scene of the late '90s, polarized on one side by mindless club trance and on the other by self-serious bedroom boffins. A duo comprised of James Kirby and Andy McGregor (aka Jansky Noise), V/Vm produced a series of releases notorious for their crude (but lovingly detailed) packaging, high collectability (usually only 100 to 500 copies), and, in many cases the music itself, a devastating assault on both copyright laws and hearing levels. 
It's a german "spoken word cd". I don't know if "spoken word" is the right term. I didn't found the time to listen to the whole cd yet, but what I heard so far, makes me wanna get more books and CDs from the 
Mauricio Kagel born in Buenos Aires on 24 December 1931, is among the most distinctive composers of contemporary music. From the very beginning his name has been associated above all with music theatre, the genre in which he has perhaps exerted the greatest impact. Besides his radical innovations in this area, however, he has also developed a highly personal aesthetic in his absolute music.
On the surface, the collaboration between Asmus Tietchens and Vidna Obmana may appear to be an unlikely one. Tietchens is a German electronic musician who has pursued "absolute music" through an almost mathematical process of rigid formal exercises. With strong ties to Karlheinz Stockhausen's early electronic work, Tietchens specializes in irregular patterns of sonic abstractions that are suspended in gray drones to create cold textural voids from external references. Vidna Obmana -- the Belgian synthesist whose real name is Dirk Sirries -- creates atmospheric moodscapes characterized by gradual shifts in tone color. Vidna Obmana's work retains a definite similarity to the evocative ambient impressions left by Brian Eno [
Noriko Tujiko was born in Osaka, Japan in 1976. She began singing at the age of three, but she didn't get her first synthesizer and sampler until she was 20. She released her first record, Keshou to Heitai, in early 2001. Later that year, she met Peter Rehberg of the Mego label, and together they hatched plans for a second album.[
As part of the process of "cleaning out her attic", as she so cleverly put it, Björk was interviewed by David Toop about her Greatest Hits and Family Tree releases.
