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Appreciate it for helping out, fantastic information.
Yes, this was made for Benjamin Green’s “One Hour As…” Series, and was never intended for widespread release. The use of spoken text is unique to this program and is meant to give some insight into compositional concerns of that time. Many of the sounds and textures made their way into my CD with Matt Marble, Ecllipses, released many years later on And/OAR. Here is the text that originally accompanied the radio program:
This mix for radio consists of recent studies in sound-fields and sound-topography, conducted over the last year. The surface of these pieces has been subjected to an overall torsion, a physical stress which warps the audible plain. The sounds are entirely acoustic, pseudo-rhythmic and environmentally embedded. For this broadcast, they have been interspersed with (spoken) writings on the process of composition. Vocal assistance from Bethany Wright and Flo Buddenbaum, who can be heard perceptively reacting while in the midst of listening. Thirdly, I have included various field recordings collected over the past several years, which can be heard as textural and sonic instigations for the work at hand.
The musical elements of this broadcast were composed in Portland, OR and Brooklyn, NY from Feb. 2002 – Feb. 2003. Collectively, they are entitled ‘Aprupture’. This program for Resonance was assembled Jan. – Feb. 2003.
Thanks for the clarification Seth. For those of you interested in the album using sections of this work, you can purchase it here:
A sample of ‘Ecllipses’, as well as more information on the album, is available here:
Hi there, I’m downloading this rarity right now. Interesting posts so far on this blog. Thanks very much!
What a pleasant surprise to stumble across this, I composed and recorded this when I was in college. And all analog synths. It was recorded on the east side of Milwaukee Wisconsin, there was a second cassette release called Twilight Tales released a year later, I have also composed a sound track for the silent film Nosferatu which was performed live every Halloween in the 90’s.
Currently I write music for art installations and planetarium shows.
Feel free to contact me at any time
thanks!! this stuff needs to be back in print
Definitely. Any information on DD. Records, or Kamada himself, that can be shared by our readers or listeners would be appreciated.
it won’t be held against you, but there’s only excerpts on bandcamp! (we cheat too…) tape number 4 is coming soon (soon in the realm of slow things, so soonish). get your stamps ready…
Have a read on the reviews by Soundscape radio and Beach Slot. Thanks for supporting.
PLEAS IS VERY IMPORTANT MY BABY IS OUT OF MIND HEARING THE FIRST TUNE OUT OF THIS LP CALLED VETERAN CAR AN I
NEED ENTIRE DOWNLOAD OF RECORD AS POSTED BY YOU IN ORDER TO CALM HER DOWN ON JOKING AND IS CRAZY TO LISTEN TO SUCH TUNES!
pleaes re up soon as you can rapidshare is off.
thanks a lot will be controlling each day!
Thank you for sharing, Brian!
thanks now rapidshare is finally working i did’nt understand why some days ago the page in link would’nt download.
I appreciate the chance you give to admit to give a listen to some hidden trasure music for my baby
hello brian and many thanks for your good work, both on site and on air.
there seems to be a problem with the links that come with the latest recently found posts: apparently rs can’t make much sense of commas in urls, and so a few links lead to a 404 page, even if surely files are exactly where you stored them. again, many thanks and sorry for the hassle.
Thanks for the heads up. This is a classic case of throwing the baby out with the bathwater in the battle over intellectual property rights. Rapidshare (catering to an increasingly toxic legislative climate in the US and Germany) has been making it incredibly difficult to share material by consistently changing addresses and privileges – whether or not said material is in the public domain (as it clearly is here, having been released for free on a now defunct net-label). I am looking into alternatives; in the meantime, hopefully those links now work? Get them while they last, and don’t hesitate to report any other dead links. Cheers.
many thanks for fixing it, brian, much obliged. all links are working and i’ve put them to good use.
not really an expert on the issue, but maybe consider adrive as an alternative?
have a nice day and thanks again.
[…] vehscle […]
aah! I’ve been trying to find this album for a couple of years now! I am forever in your debt.
[…] nice “Eolo” reviews by SOUNDSCAPE RADIO and THE FIELD REPORTER. Thanks to Brian Beaudry and to Cheryl […]
any possibility of a re-up
many thanks (great work),
ok, i’m so sorry for requesting again, but that write up has my attention drooling :)
ps. great to have brian in the comments!
Would be interested in hearing this too if still possible!
New link available as of June, 2013.
Updated link as of June, 2013.
Apparently DD. Records was ran in Kofu. (http://www.geocities.co.jp/radiodaze76/inds0dd.htm)
Anyone got any more info on DD records?
Yeah, it’s a tough nut to crack. Not much info on Discogs (which has less than 10% of DD. Records’s discography), and I’ve only seen a single batch of their cassettes pass through eBay.
[…] ”La Radio a Pedali” played in the radio show CUT AND RUN, featuring also music from Tim Hecker, Hildegard Westerkamp, Jacqueline Leggatt and others. Check it here. […]
[…] and one from Olivia Block, whose latest album, Karren, is receiving all kinds of positive responses. “Opening Night” definitely blew me away; just a gorgeous recording and a great concept […]
i’ve only recently discovered your site and want to give you huge thanks and praise for the collection of old and analogue synth music that you are sharing here. also, i’m really interested in the music on this tape and would really be very happy if you ever find the time to give it another upload. also if you don’t already know this, i think there is another tape from this guy on a german blog: http://tapeattack.blogspot.de/2011/11/k-kusafuka-re-music.html
Thanks for the tip, we look forward to hearing Re-Musik! The link here should be working again, don’t hesitate to drop us a line if you are looking for anything else.
wow, that was a really quick reply. thanks for the tape, its really a nice piece of music and i agree with the kind of timeless feel that you describe.
i will surely come back to you if i encounter another dead link in my exploration of your blog, so dont worry.
another link that might be interesting concerning this specific japanese label that i came across is a pretty thorough listing of around ~180 releases and a little info on some of the artists on this japanese site, if you scroll down a bit:
keep up the good work,
I can’t dl this sadly, RS sad I’m passed my daily limit even though I haven’t downloaded anything from there in a long time.
I’ll look into alternatives.
[…] A working title for Cyril Badaut’s experiments with turntables. A simple enough concept that has Badaut manages to find some unique musical crevices in. His approach to vinyl manipulations is often quite … read more […]
Would it be possible to re-up this? If not, I guess I’ll try contacting Mr Saunders, or wait patiently for the day someone decides to sell their copy..
[…] Furious Green Cloud […]
Interesting to hear your thoughts on this release Brian! Clearly, the use of overt editing techniques to achieve certain aesthetic effects has a long history — traceable through the Surrealist and Dadaist use of cut-ups and collage to provoke shock and shatter the status quo, the existential montages of the Sixties new waves you reference, the postmodern claim that everything is constructed or a simulacrum, and so on. I’m not sure “Talladura” sets out to shatter or expose anything. To an extent, I’d say that rhythm as a form is already a kind of cut-up, as it requires the separating of time into discrete beats; there’s always an element of construction in ‘feeling the beat’, in mentally piecing the beats together. So while collage techniques are clearly used, I don’t think that “Talladura” goes out of its way to present itself as artifice or simulacrum; it seems to me to be more about collage as a means of production, rather than destruction or deconstruction. Maybe if I saw the same films you’d seen then I’d think otherwise!
Interesting. There are so many great records on Opus One, it seems.
Laurent Fairon (aka Continuo)
Composer of the ‘a window in Sicily’ here. Brian encouraged me to write my comments to him via email here, so I’d like to share them, below! Thanks Brian for an insightful and critical yet gracious review.
“Your words on my piece were nice to read and posed some really great questions for me, so thank you. I speak a bit of Italian and grew up with family who spoke it fairly fluently, and have visited for extended stays many times. But, it’s not actually part of my heritage, just a place where I have lots of friends and a lot of fondness for. The recordings in this piece (taken from six different points around the same marketplace that surrounded my hotel) form something of a ‘sonic photograph’ of a place in memory. But you’re right, that essentially the recordings are used as a fairly one-dimensional portrayal of a space (or my memory of the space) rather than an intentioned deep, considered investigation into the significance of that place. I’m thinking now of what the relationship between this kind of field recording and photography is, and how to engage with a place in a meaningful way when engaging in this kind of activity, or using it in composition.
You can probably hear the influence of Michael Pisaro in my work and I enjoy the way he uses fairly ‘blank’ field recordings as a form of pink noise in his work. But of course the field recordings in my own piece are highlighted, both by their similarity to each other, and the framing of them in the title. I don’t hear them as ‘arbitrary’ myself, as they have a particular significance and relationship to my own listening and presence, and I guess my upbringing – but it’s definitely an area to tread carefully in, as the intent of the composer certainly doesn’t stop something from being appropriative or otherising. So thanks for drawing it more to my attention, I appreciate it a lot, and am glad you otherwise enjoyed the sonic palette of the piece.”
I certainly didn’t mean to accuse anyone of insensitivity. As both a DJ and field recording artist myself, and with increasing access to music and sounds from all over the world, I just try to be conscientious about sources.
Your response is interesting and relevant – it also speaks to just how personal and idiosyncratic this music can be, and why it’s important to continue the dialogue started by the work itself. Just because I react to something in a particular way doesn’t mean I’m correct!
This is my dad, he is still alive and playing!
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