Here you have our weekly selection of 7 (recent and not so recent) Bandcamp releases that have been orbiting around our heads lately:
A companion piece to 2018’s Listening To Pictures, this second volume in the pentimento series presents eight new tracks by the music visionary, continuing his lifelong exploration of the possibilities of recombination and musical gene-splicing. Pentimento is defined as the “reappearance in a painting of earlier images, forms, or strokes that have been changed and painted over” and this is evident in the innovative production style that ‘paints with sound’ using overlapping nuances to create an undefinable and intoxicating new palette.
toiret status is Isamu Yorichika from Yamaguchi, Japan. His new work Otohime is his first vinyl record and his second album on Orange Milk following ◎omaru◎ in 2016. Otohime includes collaborations with Co La, and Yoshitaka Hikawa. He has also released music on the labels Noumenal Loom, Plus 100 Records, Pedicure Records, Wasabi Tapes, and Slagwerk.
DePlume is a Manchester-born, London-based bandleader, composer, saxophonist, activist and orator. He’s a resident at the legendary London creative hub Total Refreshment Centre, a recording artist for the off-grid, Scottish Hebridean island label Lost Map, and now the latest arrival into Chicago-based International Anthem’s growing family of progressive musical explorationists. Whilst much of his music contains vocals – often whispered imperatives – this is a collection of instrumentals, drenched in feeling and recorded over four albums and eight earth years in cities across the UK.
Love All Day is proud to present the debut release from Deep Space Duo, a recent collaboration between Chicago underground music stalwarts, Whitney Johnson & Matt Jencik. While both were enrolled as members of the Circuit Des Yeux live band they bonded over their shared love of the Acetone Top 5 Organ; a small, portable vintage organ whose tones will be familiar to followers of early American Minimalist music.
For an artist whose career is almost entirely improvisational, TALsounds has refined a stunning style of music that sounds as meticulous as it does surprising. Since picking the moniker nine years ago, Natalie Chami has been flitting between experimental electronica, mood-driven minimalism, and classically trained choral singing as a solo artist in Chicago. On her fifth album, Acquiesce, she dives inward without constraints and invites the listener to do the same, to lose track of time, and to let emotion dictate what happens next.
“His sound is a perfect amalgam of elements from the hardcore continuum – at times a dark and malevolent brainstorm of grubby drums dragged through crusty samplers, future-weary textural scrapes, moody splashes of pads and of course bucketloads of crushing subs, lows and low mids all designed to rock you from the waist down. You’ll hear spectres of culture past lurking in the shadows – a trip hop skit from a gaunt figure here, a riotous brawl of grime MCs there – and feel the decades of soundsystem absorption seeping off the platters. It’s like the LEA reached capacity and these productions were what happened when the sponge got squeezed.”
Piotr Kurek’s A Sacrifice Shall Be Made / All The Wicked Scenes is comprised of pieces composed specifically to accompany theatre performances directed by Tian Gebing (500m and The Decalogue) and Grzegorz Jarzyna (Two Swords). Kurek attended performance rehearsals in Beijing and Shanghai, with additional preparations and recording sessions taking place back in Warsaw.
Disclaimer: The content you are about to see contains graphic images of pianos being destroyed in different ways. Some viewers may find the following videos offensive. If so, you are not advised to watch the following.
*As one might imagine, there have been thousands of undocumented piano destructions all over the world. This list is a just a brief compilation of pianos being destroyed under different contexts/circumstances (artistic or not) and it does not represent an actual chronology of piano destruction.
“Participatory Performance. Background Sound Thunder and Lighting. The Piano is a powerful instrument of sound to convey the message of Sacrifice I wish to convey to the Universe. The Sounds of its Destruction gives full voice to Sacrifice: To the Destruction Creation in it cycle of Creation is giving us time to understand the preciousness of Mortal Life that it never be given up to or for Sacrifice of any kind… If we must have WAR send our PIANOS to WAR. If we must have VIOLENCE send our PIANOS to VIOLENCE, I dare YOU to HATE your PIANO to fill it with your HATE and BIGOTRY and Let Creation Know your PIANO’S Life does not compare to the Miracle of Life WE MORTALS are and that OUR PIANO is the SACRIFICE TO THAT FACT…As for the Egg and the Feathers they are the subtle aspect the preparation for the SPIRITUL BONDING with the PIANO: The Egg when it is held gently in one’s cupped hands and You imagine the worst aspects of Your Character and then crush the Egg on the PIANO you have committed Yourself to the surrender of those worst aspects to the Sacrifice the PIANO is… The Feathers placed on top of the crushed Egg are the signal to the Angels to carry the Sacrifice to a place of Spiritual Redemption.”
Annea Lockwood’s classic performance music work, Piano Burning (1968) was composed when she found abandoned upright pianos on the banks of the Thames River in London during the 1960s.
Busy Signals for 10 decomposing pianos by Paul Wiancko. Methow Valley Chamber Music Festival, 2015.
Performed by Paul Wiancko, Emilie-Anne Gendron, Ryan McCullough, Elena Urioste, Ayane Kozasa, Charles Noble, Curt Spiel, Kevin Krentz, Meeka Quan DiLorenzo, Brittany Boulding Breeden, and Sonja Myklebust. Commissioned by the Methow Valley Chamber Music Festival and premiered at the grand opening of Howard Johnson’s Piano Garden on Signal Hill in Twisp, WA on July 26, 2015.
“I wanted to do something with a piano in a landscape of some significance and I suppose, as a Scotsman, there’s nothing more significant than the border. I thought it was beautiful to look from one country into another and I liked the idea that Hadrian’s Wall is, under a certain interpretation, a great end of civilization… I was overwhelmed to be in a landscape of such beauty, and with such a huge unfathomable history.” —Douglas Gordon
PIANO DEMOLITION PERFORMANCE byMATTHEW BOURNE , SPATCHCOCK, LONDON, MAY 15, 2010.
“SPATCHCOCK’ nights were legendary: hosted by a community of extraordinarily creative people living in amongst the warehouses in Overbuy Road, London. Raucous, intense, powerful, FUN. As the evenings progressed, one could be guaranteed of becoming quite mashed-up, and continuing well into the following morning… SPATCHCOCK had asked if I would play an old upright piano – one they were looking to dispose of. Not wishing to pay for its removal, they asked that, as part of the performance, would I mind progressively destroying it… Armed with tools from Rupert Lees’s nearby workshop, I set about the task of a ‘demolition performance’. The video ends with an ‘encore’ performed off-camera, on another upright, elsewhere in the warehouse. The debris from the demolition was recycled, and fashioned into functional or decorative items by Rupert Lees; and the strung, iron frame, is still in use today, at Ellis Gardiner’s nearby studio.”
Yosuke YAMASHITA “Burning Piano 2008,” March 8, 2008 at Noto Resort Area Masuhogaura, Shika-machi, Ishikawa, Japan) Related Event of the 21st Century Museum of Contemporary Art, Kanazawa Third Anniversary Exhibition, Graphism in the Wilderness: Kiyoshi Awazu Exhibition.
“In the upcoming event, I will encounter an old piano built decades ago, otherwise destined to be discarded. For this old piano, I would like to perform a funeral requiem with the deepest love from my heart. At the same time, I would like my performance to pay homage to the 1973’s performance (this film work “Burning Piano” by Kiyoshi Awazu was presented in 1974,) as well as to Kiyoshi Awazu, the artist of richly experimental spirit who created it, and to all experimental avant-garde art movements of the sixties.” Text Via
Leonhard Lapin, Ülevi Eljand, Ando Keskküla, “Trio for Piano,” 1990, happening in Tallinn Art Hall, 1990. Image courtesy of the Art Museum of Estonia, Tallinn.
One of the most well-known events organized by SOUP was the happening Trio for Piano, held on International Women’s Day on March 8, 1969, in the main hall of the State Art Institute. This event wasn’t called Trio for Piano initially (the name was given retrospectively by Lapin), nor was it – at least not unambiguously – understood as a “happening” at the time. There are no recordings of this event, only the memories of the participants and the audience, according to which this happening can be, cautiously, described as follows (keeping in mind that memories are rather fluid).
As the Art Institute had recently acquired a new piano, the old piano was donated to students who had requested it. According to Lapin, they had heard that pianos were being destroyed by young and radical artists all over Europe. The students were generally familiar with the phenomena of happenings and they had organized some similar events at the Art Institute and elsewhere. International Women’s Day was celebrated all over the country with performances, lectures, and other events, and the art students made their own contribution to this celebration. In front of an audience of other students, they put the piano at the center of their activities and played on it and with it in every possible way. For example, Künnapu played the piano while reading an architectural drawing as a “score;” others painted smiling lips on the instrument and “made love” to the piano before moving it to one side and breaking it into small pieces, which were thrown to the audience to take away as souvenirs. During the event the artists also considered whether the piano should be thrown out of the window onto the street crossing next to the art school, which was known as a dangerous place where a lot of accidents happened; however in the end, this idea was abandoned. The audience was excited and reacted to all of the activities energetically; the event was remembered many years later as a legendary disturbance, but it had no serious consequences for the organizers. Text Via
Wiener Gruppe – 2nd Literary Cabaret – 15. 4. 1959. Porrhaus, Vienna. Friedrich Achleitner, Konrad Bayer, Gerhard Rühm and Oswald Wiener.
Tthe evening (of 15th april, 1959) began as promisingly as the first one. As soon as the first spectator entered the auditorium we started to play the tape recording of an oil—extraction plant transmitted by loudspeaker, which we kept going for about three-quarters of an hour till the beginning of the performance proper. This created a technical atmosphere and made for nervousness in the crowded audience (there were about 700 people). Continue HERE
The idea that we have brains hardwired with a mental template for learning grammar—famously espoused by Noam Chomsky of the Massachusetts Institute of Technology—has dominated linguistics for almost half a century. Recently, though, cognitive scientists and linguists have abandoned Chomsky’s “universal grammar” theory in droves because of new research examining many different languages—and the way young children learn to understand and speak the tongues of their communities. That work fails to support Chomsky’s assertions.
The research suggests a radically different view, in which learning of a child’s first language does not rely on an innate grammar module. Instead the new research shows that young children use various types of thinking that may not be specific to language at all—such as the ability to classify the world into categories (people or objects, for instance) and to understand the relations among things. These capabilities, coupled with a unique human ability to grasp what others intend to communicate, allow language to happen. The new findings indicate that if researchers truly want to understand how children, and others, learn languages, they need to look outside of Chomsky’s theory for guidance.
Finland is about to launch an experiment in which a randomly selected group of 2,000–3,000 citizens already on unemployment benefits will begin to receive a monthly basic income of 560 euros (approx. $600). That basic income will replace their existing benefits. The amount is the same as the current guaranteed minimum level of Finnish social security support. The pilot study, running for two years in 2017-2018, aims to assess whether basic income can help reduce poverty, social exclusion, and bureaucracy, while increasing the employment rate.
The Finnish government introduced its legislative bill for the experiment on 25 August. Originally, the scope of the basic income experiment was much more ambitious. Many experts have criticized the government’s experiment for its small sample size and for the setup of the trial, which will be performed within just one experimental condition. This implies that the experiment can provide insights on only one issue, namely whether the removal of the disincentives embedded in social security will encourage those now unemployed to return to the workforce or not.
Still, the world’s largest national basic income experiment represents a big leap towards experimental governance, a transformation that has been given strong emphasis in the current government program of the Finnish state. Additionally, the Finnish trial sets the agenda for the future of universal basic income at large. Its results will be closely followed by governments worldwide. The basic income experiment may thus well lead to the greatest societal transformation of our time.
Every year, in northern Myanmar, thousands of farmers pull tonnes of Cretaceous amber out of the ground, and send the glistening nuggets to local markets. For six years, Bo Wang from the Chinese Academy of Sciences and his colleagues have visited the markets and sifted through 300,000 of the glistening nuggets. It was a lot of work. Then again, it takes a lot of work to find animals that spent their whole lives trying not to be found.
Within the amber, Wang’s team identified dozens of ancient insects that camouflaged themselves by adorning their bodies with junk. They had short bristles and elaborate feathery tubes, onto which they stuck sand, soil, wood fibres, bits of ferns, and even body parts of other insects. They were the earliest animals that we know of to camouflage themselves, some 100 million years ago.
The ugly is a very intractable concept: as anomalous, messy, irregular, unsettling and ultimately unsurveyable as the phenomena it characterizes. The ugly sits squat and tumorous at some hidden place in our body conceptual, reaching out to unexpected points while conspicuously absent in more expected places. It touches sensitive places in our psyche and culture, for example in its connection with issues of deformity, otherness and gender. It is a concept horribly well connected, as Mojca Küplen points out, with ideas such as “alienation, estrangement, dehumanization, destruction, degeneration, disconcertion, absurdity, and with emotions evoking terror, horror, anxiety and fear”. The concept of ugliness, though, has sufficient shape and regularity to reward the philosophical attention which these three books supply, but, as we learn in different ways from all of them, it seems to wilfully frustrate the demand for a consistent and satisfying explanation. The concept’s misshapenness and eccentric centre of gravity mean that even its relation to the beautiful is not cleanly binary. As Gretchen E. Henderson notes in Ugliness, the beautiful and the ugly are like “stars which fall into one another’s gravity and orbit one another”, but their orbit is a highly eccentric one which no Keplerian law of symmetry could hope to describe. Read HERE
In ways no one understands, talk therapy reaches down into the biological plumbing and affects the flow of neurotransmitters in the brain. Other studies have found similar results for “mindfulness” — Buddhist-inspired meditation in which one’s thoughts are allowed to drift gently through the head like clouds reflected in still mountain water.
Findings like these have become so commonplace that it’s easy to forget their strange implications.
00:00:00′ = Wandercast Intro: Infinite Third / (sky) / (eardrops)
00:00:48′ = Gregor Schwellenbach / Ulf Lohmann’s Because (feat. Dorothee Oberlinger) / Gregor Schwellenbach spielt 20 Jahre Kompakt
00:04:00′ = Hauschka / Thames Town / Abandoned City
00:07:40′ = Damon Albarn / Everyday Robots / Everyday Robots
00:11:37′ = Helado Negro / Mitad De Tu Mundo / Island Universe Story Three
00:14:44′ = Calibro 35 / Erotismo / Said – Colonna sonora originale
00:17:40′ = Jungle By Night / Cherokee / The Hunt
00:20:56′ = Ennio Morricone’s Group / The Feed-Back / The Feed-Back
00:27:44′ = Kaleïdoson / Le Passage Du Cowboy Entre Deux Morceaux / Primavera
00:28:30′ = Carlinhos Brown / Afrobossa Abaum / Marabô
00:30:23′ = Galimatias / Marshmallow Grove / soundcloud.com/galimatias
00:34:00′ = Uncle Skeleton / Retrofuture / All too human
00:34:29′ = Colleen / Going Forth By Day / The Weighing Of The Heart
00:38:46′ = Psymun / myintroheyguys / heartsick
00:39:43′ = JJ DOOM / Retarded Fren (Thom Yorke & Jonny Greenwood Verison) / Bookhead EP
00:42:52′ = Cosmic Analog Ensemble / Station V / Subway to the Minaret
00:45:20′ = Fabio Viscogliosi / Catch A Wave / Spazio
00:47:48′ = Dawn Of Midi / Sinope / Dysnomia
00:56:38′ = Weedy of 40 Winks / Warmuils / Retrospect Suite
00:59:35′ = Ketone / Alpina / Nightfly Vol. 3
NASA spent nearly 20 years developing a form of space ice cream that astronauts found palatable. Meanwhile, the Soviet space program was working on stuff like this:
That’s the NAZ-3 survival kit. It was designed in 1968 for the Soviet Soyuz spacecraft, the reliable workhorse of space flight which is still in use today. As outlined on this interesting site about the Russian space program, the kit contained the following from top left to bottom right:
– Makarov pistol and ammunition
– wrist compass
– 18 waterproof matches with striker
– machete; fishing kit
– strobe light with spare battery
– 8 fire starters
– folding knife
– 3-pair wool gloves
– signal mirror
– NAZ-7M type medical kit
– R-855-YM or R-855-A1 radio
– two “Priboy 2S”, ПРИБОЙ-2С radio batteries
– three wool balaclava hoods.
The pistol was intended to scare off “wolves, bears, tigers, etc.” on the event of a crash landing.
a. Katsuhiro Otomo
b. William Claxton. Life’s A Parade, New Orleans.
c. Dear Bruno, Thank you very much for the magazine with your article, and the excellent translation. Best Wishes, Norman McLaren (1958).
d. Half Armor of a Member of the Papal Swiss Guard – 1600AD.
e. Exploded skull by 18th century French Anatomist Claude Beauchene.
a.) Moby Dick – Marc Burckhardt
b.) Fussreliquiar. Gold-plated copper. For the relic of one of the innocent children of Bethlehem. Goldsmith Oswald About Linger Eberler, Basel. Silver. Origin: Basel (BS), Cathedral Treasury, ca. 1450.
c.) St. John and Veronica dyptich (right wing). Hans Memling (Memlinc), Netherlandish, c. 1430 – 1494
Oil on wood, 31,6 x 24,4 cm, National Gallery of Art, Washington
d.) “Bricks” – Still life for Apartamento. Ana Dominguez & Omar Sosa
WikiLeaks has begun releasing a cache of what it says are 5.5m emails obtained from the servers of Stratfor, a US-based intelligence gathering firm with about 300,000 subscribers.
The whistleblowing site has published 167 emails in its initial release. WikiLeaks says it has partnered with 25 media organizations around the world, including Rolling Stone, McClatchey, the Hindu and Russia Reporter.
Unlike previous WikiLeaks releases, this latest email cache was apparently obtained through a hacking attack on Stratfor by Anonymous in December 2011 rather than through a whistleblower.
Anonymous published contact and credit card details from Stratfor and said at the time it had also obtained a large volume of emails for which it would arrange publication.
Written by James Ball, The Guardian. Continue HERE