A Different Nature
A Different Nature Mission Statement: A Sustained Explorations of New, Experimental Music and Sonic Art
A Different Nature is a curatorial program of genre-defying avant garde music and spoken word that champions historic and modern sound art and spotlights, new, emergent experimental music and audio art generally not heard anywhere else.
The program's format provides the space for deep listening to pieces not confined to pop song lengths and shows are generally focused on an artist, school of music or discipline, record label or art movement.
A Different Nature is a collaborative effort of the ADN Collective, who each curate a show every week on an informal rotating basis, or a group show, depending on the subject at hand.
A Different Nature was founded in the late Seventies by Richard Francis, who fearlessly championed new music and the unheard Avant Garde. His programs went into exhaustive detail on individual artists, labels and musical disciplines. He also spearheaded many important events on the air, such as the 2001 and 2008 Dada and Surrealism festivals that dominated the airwaves for days on end and involved many in the local avant garde community as well as many KBOO programmers.
Richard passed away in 2009 but it's our hope to carry on with his mission of introducing listeners to unheard new music as a collective of his collaborators and listeners.
Long live Papa Dada!
Airs every Monday from 8 to 10 PM
This time on A Different Nature, we delve into the program's past, and play gems from founder Richard Francis' own record collection. It's KBOO's spring membership drive, so A Different Nature listeners will have the opportunity to pledge their support for the station during the program. We have special thank-you gifts to offer new or renewing members: copies of the CD "Hendrix Uncovered: New Music Inspired by Jimi Hendrix", donated by March Music Moderne & Bob Priest.
- Length: 119:47 minutes (164.51 MB)
- Format: MP3 Stereo 44kHz 192Kbps (CBR)
For forty years, the San Francisco Avant-Garde band The Residents have basked in relative obscurity, much of it self-imposed. Their earliest modus operandi had them creating works under their 'theory of obscurity', first coined by N. Senada, who may or may not be an actual person. One aspect of the theory is that a work is created with the intent of never releasing a work until every participant has forgotten about it - or something like that.
Another aspect of the Residents is that they've kept their real identity a secret for many decades, with a few people speaking on their behalf in a business capacity who may or may not be Residents themselves.. Hmmm..
We did, however, manage to get Homer Flynn, The Resident's creative director and visual Major Domo on the phone, while he was, uh, helping the band on the Eastern leg of their Wonder of Weird 40th Anniversary tour.
Homer was more than generous with his time and lots of questions get answered, including a long-time rumour around KBOO's history.
But I'll let you listen to that yourself.
- Title: Interview with Homer Flynn of The Residents
- Length: 37:10 minutes (187.57 MB)
- Format: RIFF Mono 44kHz 705Kbps (CBR)
Kathy, Dr Zomb & Rolf interviewed Edward Ka-Spel of the Legendary Pink Dots for A DIFFERENT NATURE. We conducted the interview at the Doug Fir a couple hours before they performed and aired it on ADN that night. Also thanks to Crystal for digital audio editing before the interview aired.
- Title: Edward Ka-spel interview
- Length: 23:31 minutes (21.53 MB)
- Format: MP3 Stereo 44kHz 128Kbps (CBR)
|Un Drame Musical Instane||Leon/Le Couple Ideal||Sous Les Mers||Grrr|
|Prof. Richmann||Eis||Succulent Blue Sway||Dorobo|
|Fred Frith||Jigsaw||The Technology of Tears||SST|
|Philip Besombes||Ceci est Cela||Ceci est Cela||Mio|
|Bob Downes Open Music||Tunnels Electronic||Episodes at 4 am||Paradigm Disc|
|Psychic TV||Dawn||Mouth of the Night||Temple|
|Lars Akerlund||Rivers of Mercury||Rivers of Mercury/Via Styx||Firework Editions|
|Tuxedomoon||Grand Hotel||Devine||Operation Twilight|
|Warner Jepson||Totentanz||Totentanz and other Electronic Works||Melon Expander|
|Un Drame Musical Instane||Zob Sessions||Sous les Mers||Grrr|
|Henk Badings||Evolutionen||Popular Electronics||Basta|
Tonight we listened to music composed for dance and choreography..
|Evan Parker, Derek Bailey, Han Bennink||Titan Moon||The topography of the Lungs||Incus|
|Spontaneous Music Ensemble||Forty Minutes (Part 1)||Eighty-Five Minutes||Emanem|
|Spontaneous Music Ensemble||Forty Minutes (Part 2)||Eighty-Five Minutes||Emanem|
|Spontaneous Music Ensemble||Thirty-Five Minutes (Part 1)||Eighty-Five Minutes||Emanem|
|Evan Parker, Derek Bailey, Han Bennink||For Peter B and Peter K||The topography of the Lungs||Incus|
|Evan Parker, Derek Bailey, Han Bennink||Fixed Elsewhere||The topography of the Lungs||Incus|
|Evan Parker, Derek Bailey, Han Bennink||Dog Meat||The topography of the Lungs||Incus|
On this evening's four hour CAGE CENTENARY finale, members of the 'Different Nature' Collective gathered in the KBOO studios and employed Cagean chance methods in "composing" a four-hour collage.
More than 60 recordings (CDs & LPs) of Cage's music were divided into four random piles: one pile four each of the four suites: spades, hearts, diamonds, and clubs. Actually, this operation was only semi-random, as it was decided that because phonograph records are played with a diamond stylus, that diamonds would be their suit. The CDs were equally divided among the three remaining suits. We began by drawing a card from the deck. A corresponding recording was selected based on the draw. For example, if the 8 of hearts were drawn, the 8th CD in the 'hearts' pile would picked, and so on.
Dice rolls then determined which track would be played. As the selection process continued, we gradually overdubbed additional Cage compositions. Two turntables and three CD players were utilized, so up to five pieces could be heard, superimposed, throughout the four-hour work. Dice also determined how long certain tracks would be played. We didn't allow the longest compositions to play all the way through, thus creating more variety in the "composition".
When jokers were drawn, we agreed that random portions of last week's ADN, hosted by dj What the!@#%*! would be played. Dj What the!@#%*! has championed the music of John Cage here at KBOO for many years. Here again, dice determined how long these excerpts would be played.
We hope that you enjoy this listening experience as much as we enjoyed making it happen. And we hope that Mr. Cage would have approved... What do you think?
|ENO [English National Opera]||Cage: Musicircus 2012||unreleased||unreleased|
|John Cage||Fontana Mix||Electronic Music V/A LP||Turnabout|
|John Cage||Rozart Mix||Anthology of Noise & Electronic Music, vol. 1||Sub Rosa|
|John Cage/Peter Greenaway||Williams Mix||OHM: The Early Gurus of Electronic Music: 1948-1980||Ellipsis Arts|
|Gordon Mumma & David Tudor||Cage: Solos for Voice II||Extended Voices V/A LP||Odyssey|
|John Cage/Andrew Hosch||Prepared Piano Collage||unreleased||unreleased|
|John Cage/Kenneth Patchen||The City Wears a Slouch Hat||The City Wears a Slouch Hat||organ of Corti|
|John Cage||Bird Cage||Bird Cage||EMF [Electronic Music Foundation]|
|John Cage||Credo in U.S. (excerpt) (live 1980s (?) performance)||Credo in U.S. [7" vinyl]||Dolor del Estamago|
|Boris Berman||Cage: Primitive||Music for Prepared Piano, vol. 2||Naxos|
John Cage (1912-1992) was born on September 5, 1912. Cage was, perhaps, the greatest music radical of the 20th century. He composed using chance procedures. His music honored silence along with sound. He made no distinction between traditional musical sounds and what some call noise. He embraced, rather than escaped from, messy urban life as well as anarchic nature. He was controversial, to say the least, but his influence has been, and continues to be, extraordinary. No one in the last century did more to change the way much of the world now thinks about, makes and consumes art. In celebration the Cage centenary, A Different Nature will present Cage-related programming throughout the month of September. This first program on September 3rd will be an extended 3-hour show (8-11 pm) with Dr. Zomb and Andy Hosch co-hosting. Then tune in on the 10th and the 17th at the show's regular time (8-10 pm). Hosts: Alejandro Ceballos (10th) and DJ What the.....!? (17th). And on Monday, September 24, we'll present a four-hour finale (7-11 pm) with lots of us mixing Cage's music live in the air room, with track selection and order of play determined by Cagean chance operations.
|Pauline Oliveros||Alien Bog: excerpt [18:00]||Alien Bog/Beautiful Soop||Pogus Productions||www.paulineoliveros.us|
|Maggi Payne||Crystal [9:58]||Crystal||Lovely Music, Ltd.||www.maggipayne.com|
|Joelle Léandre||Hommage À John Cage [4:14]||The Wonderful Widow Of Eighteen Springs...||Auvidis Montaigne||www.joelle-leandre.com|
|James Tenney||Phases (for Edgar Varese) [12:25]||Selected Works 1961-1969||New World Records||kalvos.org|
|Morton Subotnick||Until Spring (side one) [15:04]||Volume 2: Electronic Works||Mode Records||www.mortonsubotnick.com|
|Chris Brown||Pahoehoe, parts 1 & 2 [13:38]||Lava||Tzadik||www.mills.edu|
|Annie Gosfield||Mentryville [4:58]||Lost Signals & Drifting Satellites||Tzadik||www.anniegosfield.com|
|Terry Riley||Anthem Of The Great Spirit: Half Wolf Dances Mad In Moonlight [8:17]||Salome Dances For Peace (Kronos Quartet) [Disc 1]||Nonesuch||terryriley.net|
|Lou Harrison||Song Of Quetzalcoatl (William Winant Percussion Group) [6:36]||Drums Along The Pacific||New Albion||www.otherminds.org|
|Miya Masaoka||24,000 Years Is Forever [14:48]||Masaoka Orchestra: What Is The Difference Between Stripping And Playing The Violin?||Les Disques VICTO||www.miyamasaoka.com|
|Pauline Oliveros & Miya Masaoka||Afternoon - Hirusugi [4:01]||Accordion Koto||Deep Listening||deeplistening.org|
Mills College - Incubator of New Music: The common thread linking the composers on tonight's edition of "A Different Nature" is Mills College in Oakland, California. For more than 80 years, Mills has been at the forefront of contemporary music, dramatically and consistently expanding the frontiers of sound and theory. Among the ranks of those who have taught at Mills are such luminaries of 20th century music as Luciano Berio, John Cage, Henry Cowell, and Iannis Xenakis. This evening we will hear music from Mills-associated composers including Pauline Oliveros, Morton Subotnik, Joelle Léandre, Miya Masaoka, Gordon Mumma, Maggi Payne, and James Tenney --much of it in an electronic or electroacoustic vein. host: Andy Hosch.
peter thomas excerpt reminicenses of... chariots of the gods ost lp polydor
philippe bessombes pour suite libra lp wah wah
joe greene main title and walk to hell on her bed of roses ost lp mira
alan splet excerpt side one eraserhead ost lp
zdenek liska punch and judy
anton g abril morte seq. 5 4-3-2-1 morte st lp dagored
bernard hermann the glowing... the day the earth stood still st cd 20th cent. fox
dominic frontiere excerpt suite from "nightmare" outer limits st cd gnp crescendo
eldon rathburn excerpt out of the labyrinthe labyrinthe lp expo 67
ligeti requiem for sonata... 2001 a space odyssey ost lp mgm
d. frontiere excerpt suite from "nightmare" outer limits cd
bebe & louis barron forbidden planet main title ohm v/a cd ellipse
alain clavier excerpt metadata
zdenek liska historia naturae
ferde grofe theremin solo rocketship x-m lp starlog
teiji ito/lois & bebe barron the very eye of night (1952)
wim wenders cathedral of books wings of desire st
bobby beausoleil b/1 lucifer rising ost & sessions anth. box set
zdenek liska et cetera
morricone gli occhi freddi... s/t lp dagored
dust brothers chemical burn fight club st cd restless
quincy jones hangin' paper in cold blood st lp
everything kinda fell to pieces after that for the last track or two writing it down wise...
thanks for listening...
This week on A Different Nature, we took a look at the pioneering electronic works of İlhan Mimaroğlu, who passed away on July 17th.
İlhan Mimaroğlu (Turkish pronunciation: [ˈilhan mimaɾˈoːɫu], March 11, 1926 – July 17, 2012) was a musician and electronic music composer. He was born in Istanbul, Turkey, the son of the famous architect Mimar Kemaleddin Bey depicted on the Turkish lira banknotes, denomination 20 lira, of the 2009 E-9 emission. He graduated from Galatasaray High School in 1945 and the Ankara Law School in 1949. He went to study in New York supported by a Rockefeller Scholarship. He studied musicology at Columbia University under Paul Henry Lang and composition under Douglas Moore.
During the 1960s he studied in the Columbia-Princeton Electronic Center under Vladimir Ussachevsky and on occasions worked with Edgard Varèse and Stefan Wolpe. His notable students included Ingram Marshall.
He worked as a producer for Atlantic Records, where he created his own record label, Finnadar Records, in 1971. In the same year he collaborated with trumpeter Freddie Hubbard on a moving anti-war statement, Sing Me a Song of Songmy. He also was the producer for Charles Mingus' Changes One and Changes Two, as well as Federico Fellini's Satyricon.
He was awarded the Guggenheim Fellowship in music composition in 1971.
This show was brought to you by DJ What The?!, Rich L., Rolf Semprebon and Dr. Zomb.
|Angus MacLise||Chumlum||untitled LP||Counter Culture Chronicles|
|Angus MacLise||The Invasion of Thunderbolt Pagoda (St Mark's Epithany)||The Invasion of Thunderbolt Pagoda||Siltbreeze|
|Angus MacLise||Smothered Under Astral Collapse||Astral Collapse||Locust|
|Angus MacLise||Electronic Mix for "Expanded Cinema"||The Cloud Doctrine||Sub Rosa|
|Angus MacLise||The First Suble Cabinet||The Cloud Doctrine||Sub Rosa|
|Angus MacLise||Humming in the Night Skull||The Invasion of Thunderbolt Pagoda||Siltbreeze|
Tonight we listened to Angus MacLise, best known as the original drummer for the Velvet Underground, but who also had quite a carreer in avant garde music, from his work in sound tracks for experimental movies, to his welding of Eastern mysticism to Western avant-garde. Along with the records, the host read a few excerpts from MacLise's long poem, The Map of Dusk.
|Bill Dixon||Motorcycle||Tapestries for Small Orchestra||Firehouse Records|
|Bill Dixon||Slivers||Tapestries for Small Orchestra||Firehouse Records|
|Bill Dixon||Phrygian II||Tapestries for Small Orchestra||Firehouse Records|
|Bill Dixon||Adagio||Tapestries for Small Orchestra||Firehouse Records|
|Bill Dixon||Allusions I||Tapestries for Small Orchestra||Firehouse Records|
|Bill Dixon||Tapestries||Tapestries for Small Orchestra||Firehouse Records|
|Bill Dixon||Durations of Permanecence||Tapestries for Small Orchestra||Firehouse Records|
|Bill Dixon||Innocenza||Tapestries for Small Orchestra||Firehouse Records|
This recording, from 2008, shows that Dixon has lost none of his skills as a writer of impressionistic, deep, music. The use of several horns gives Dixon room to color and explore his compositions to the fullest. The compositions are are fairly lengthy-the shortest being
...9 minutes, the longer tracks 12-17 minutes. The band consists of-Dixon-trumpet/electronics, Bynum-cornet/flugelhorn/bass trumpet/piccolo trumpet, Graham Haynes-cornet/flugelhorn/electronics, Stephen Haynes-trumpet/flugelhorn, Bob Mauzurek-cornet/electronics, Glynis Lomon-violoncello, Michael Cole-contrabass/clarinet/bass clarinet, Ken Filiano-double bass/electronics, and Warren Smith-vibraphone/marimba/drums/tympani/gongs.
This is typical Dixon-open, impressionistic, sometimes dark, brooding music. But don't let the term "typical" keep you from experiencing this music. This is vital, alive, subtle, exciting, intelligent music-played by musicians who are sympathetic to Dixon's writing, arranging, and playing. The shifting colors and tones throughout these two discs is truly something special. The constant exploration, the use of electronics, the use of modal structures (among other things), gives the impression (at times) of someone speaking in tongues. In some respects (though this set is more refined) this is a continuation of his earlier music-"Intents and Purposes" (especially), and (possibly) portions of "Thoughts" and "Live in Italy". But also included are some pieces of music that have not been written down by Dixon-but they're far from free jazz.