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.
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)
Butch Morris: Conduction #70 "Tit for Tat" (time=48:10) label: FOR 4 EARS records
Recorded live 9/26/96 in Zurich, Zwitzerland
personnel: B. Buster - turntables; Pete Ehrnrooth - clarinets, saxophones; Andy Guhl - cracked everyday-electronics; Hans Koch - clarinets, saxophones; Edgar Laubscher - electric viola; Norbert Moslang - clarinets, saxophones;Daniel Mouthon - voice; Gunther Muller - drums, electronics; Jim O'Rourke - acoustic guitar; Dorothea Schurch - voice; Martin Schutz - electric 5-string bass; Marie Schwab - acoustic violin; Nicolas Sordet - electronics; Fredy Studer - drums; Stephan Wittwer - electric guitar; Lawrence D. "Butch" Morris - conductor
Butch Morris: Conductions #57, 58 "Holy Sea, part 1" (time=68:44) label: Splasc(H) records
57E1, 57, 57E2 recorded live 2/8/96 in Firenze, Italy; 58E1, 58E2, 58E3 recorded live 2/9/96 in Carrara, Italy
personnel: Lawrence D. "Butch" Morris - conductor; J.A. Deane - live sampling, drum machine, trombone & electronics; Otomo Yoshihide - Riccardo Fassi - turntables, sampling, electronics; ORT [Orchesta della Toscana] Andrea Tacchi, Giogio Ballini, Paolo Gaiani, Maria Elena Runza (violin); Riccardo Massi, Alessandro Franconi, Dimitri Mattu (viola); Giovanni Bacchelli, Filipo Burchietti (cello); Raffaello Majoni, Gianpietro Zampella (contrabass); Michele Marasco (flute); Umberto Codeca (bassoon); Gianfranco Dini (horn); Donato De Sena , Claudio Quintavalla (trumpet); Renzo Brocculi (trombone); Riccardo Tarlini (tuba); Morgan M. Torelli (timpani); Jonathan Faralli (percussion); Cinzia Conte (harp)
|Natural Snow Buildings||Broken Sword||Slayer of the King of Hell|
|Natural Snow Buildings||Case Ressurected||Menagerie 2||Blackest Rainbow|
|Natural Snow Buildings||Nuclear Winter||Ghost Folks||Hinah|
|Isengrind||His Winter Bed||The Snowbringer Cult||Students of Decay|
|Natural Snow Buildings||The Snowbringer Cult||The Snowbringer Cult||Students of Decay|
|TwinSisterMoon||Bones Memories||The Snowbringer Cult||Students of Decay|
|Natural Snow Buildings||The Chrystal Bird||The Shadow Kingdom||Blackest Rainbow|
|Natural Snow Buildings||Moscow Signal||The Centaur Agent||Vopiano|
|Natural Snow Buildings||Dawn Celebration||The Sundowner||Students of Decay|
|TwinSisterMoon||Then Fell the Ashes||Then Fell the Ashes||Blackest Rainbow|
|Isengrind||When the Morning Dawns||Modlitewnik||Blackest Rainbow|
|Isengrind||Path of Ice||Golestan||s/r|
|Isengrind||Und Immer Noch gibt es Freude||Modlitwnik||Blackest Rainbow|
|TwinSisterMoon||Unseen Seen||The Hollow Mountain||Blackest Rainbow|
|Natural Snow Buildings||John Carpenter||The Dance of the Moon and the Sun||Students of Decay|
Tonight we listened to the exquisite drones and icy folk of the French duo Natural Snow Buildings, as well as to their solo projects, TwinSisterMoon and Isengrind.
|Hilda Dianda||A-7||Musica Electroacustica||MCBA|
|Hilda Dianda||Dos Estudios en Oposicion||Musica Electroacustica||MCBA|
|Anar Band||Aquaman||Anar Band||Alvorada|
|Anar Band||Plasticman||Anar Band||Alvorada|
|Anar Band||Batman||Anar Band||Alvorada|
|Anar Band||Superman||Anar Band||Alvorada|
|Amadeu Marin||Set Peces Lepidiformes, (1980)||Encontre de Compositors I||Institut d'Estudis Balearics|
|Nelly Moretto||Composicion 9b||Musica Elecroacustica||MCBA|
|Llorenc Barber||Obice - Sonata para Agua y Flauta||Encontre de Compositors I||Institut d'Estudis Balearics|
|Luis Maria Serra||Invocation||Musica Electroacustica||MCBA|
|Anar Band||Fantasma||Anar Band||Alvorada|
|Anar Band||Sandokan||Anar Band||Alvorada|
|Anar Band||Mandrake||Anar Band||Alvorada|
|Anar Band||Tarzan||Anar Band||Alvorada|
|Alfredo del Monaco||Electronic Study No. 2||Electronic Misic||CRI|
|Alfredo del Monaco||Metagrama||Electronic Misic||CRI|
Dynamic 1970 lp, originally co-released by the “Municipalidad de la Ciudad de Buenos Aires”, the “Secretaria de Cultura” and the “ls 1 Radio Municipal de la Ciudad de Buenos Aires” in a tiny internally-distributed edition, consisting of four extended pieces by Argentinian composers Hilda Dianda, Nelly Moretto, and Luis María Serra from the tail-end of the 1950s through the end of the 1960s.
Hilda Dianda’s opening piece “a-7” - ...a lone cello plucks out an atonal array of notes with the eruption of tape-sound. On her “Dos Estudios en Oposición” the tape-sounds are left to themselves.
On the “flip”, Nelly Moretto introduces her “Composición 9b”, a creepy blend of spoken word/sound-poetry with filtered noise and extensive tape processing, occasionally piling up into a giant jumble of disembodied voices; a spectral choir.
Finally, Luis María Serra’s “Invocation” works a few dissonant plucked guitar notes & string-scrapes into a powerfull morass of shifting pings and grinding metal; a notable guitar/electronic forebear.
Anar Band (Portugal) was a project by Jorge Lima Barreto (1949), who had been performing interventions in experimental and jazz music, video art and performance-art since the late sixties; graduated in Art History and doctorate in and Social Communication Theory, he wrote several books and produced radio shows.
Anar Band was a laboratorial group for improvisations, in the aesthetics of the free-jazz and electroacoustics.
Produced and recorded in 1976, Anar Band was, on an electroacoustic profile, the first Portuguese record of improvised music, clearly committed as such.Formed by Jorge Lima Barreto (who would be from 1981 onwards one of the halves of Telectu, the other being Vítor Rua) and (later the lead singer with avant-garde pop group GNR), this is a true trip into the inner realms of the mind, fuelled by jazz rock leanings and electronics – the ARP Odyssey synthesizer also reminds us that from here to prog rock is sometimes a small step.
This is a truly original work of art.
|Amadeu Marin||: Set Peces Lepidiformes, (1980)|
Llorenc Barber: Suite for flute and water, .
Alfredo del Monaco ( ) Electronic Study, 1970.
AUDIO for this broadcast can be found at: http://laruletaradio.files.wordpress.com/2011/01/01-a-different-nature.m4a
Lawrence D. "Butch" Morris & Conduction, part 2 of 6
Sketches of NYC (7:29) / from Nublu Orchestra conducted by Butch Morris (Nublu, 2006)
Conduction #25, The Akbank Conduction (45:00), Conduction #26, Akbank II (7:04) / from the 10-CD box set Testament: A Conduction Collection (New World, 1995)
"Conduction #135, Sheng Skyscraper (53:34) / from "Conduction / Induction" (Rai Trade, 2007)
for a complete listing of personnel, go to the Butch Morris website: www.conduction.us
and download Conduction Chronology.
to learn more about the documentary Black February: http://blackfeb.com/
host: Andy Hosch /// This evening we bring you the second in a six part series on the music of composer and conductor Lawrence D. “Butch” Morris, recognized internationally as the principal theorist and practitioner in the evolution of Conduction, and a leading innovator in the confluence of jazz, new music, improvisation and contemporary classical music. Butch’s work redefines the role of composer, conductor, arranger and performer and bridges the gap between the composer, interpreter and improviser. Over the last 25 years Morris has led over 180 Conductions in cities around the world. In this second installment, we will hear conductions which feature traditional instruments from Turkey and China, along with Western instruments and electronics
This series will continue on the 1st Monday of each month (with the possible exception of April, when it may be preempted by special Membership Drive programming). Also, I am arranging to do an interview with Butch Morris which we hope to air later in the series. So tune in and get ready to check out some truly amazing sounds. Visit Butch Morris's website at http://www.conduction.us/ and also go to http://blackfeb.com to learn about the recently released documentary film, "Black February" which follows a month long series of Conduction performances in New York during February, 2005 celebrating the 20th anniversary since of of Morris' first Conduction.
The following is an excerpt taken from the book Arcana II (John Zorn, et al.) as reprinted in the liner notes to the double CD "conduction/induction" (Rai Trade, 2007). I think it is very informative to hear, in Butch Morris' own words, his description of the principles of Conduction and of his overall artistic philosophy:
“For more than 20 years through Conduction, I have had the privilege to engage and enjoy, from the inside, this intermediate space between notation and improvisation, acquiring new skills and perspectives while doing so.
The context, of course, has been polarized by history and practice: musicians and musical communities bound by notation and musicians and musical communities bound by improvisation. Yet between them is the space where a potential for new life, an expansive range of expression that has gone untouched, prevails; and where ideals and ideas incubate for the continuum of the ‘musical’ canon.
Conduction®: a vocabulary of ideographic signs and gestures activated to modify or construct a real-time musical arrangement (of any notation) or composition. Each sign and gesture transmits generative information for interpretation and provides instantaneous possibilities for altering or initiating harmony, melody, rhythm, articulation, phrasing or form.
Conduction concerns transmission, communication and expression; a common ground where all culture and style cohabit, not only by way of their distinctiveness, but also in how each contributes, in the ensemble, to a unique encounter. More intimately, it concerns a capacity of musicianship for new skills with new principles.
The vocabulary of Conduction is symbolic information (directives: signs and gestures) that carry definition and meaning to propel musicians toward substantive understanding and achievement. It provides the precision and the focus needed to navigate music’s vast terrain.
The principles of Conduction foster, enhance and evoke the analytical reasoning of each musician’s history, knowledge, intelligence, experience, instinct, intuition, expression, will and fantasy as fundamental requirement.
In Conduction, the art of composition and the immediacy of performance become interdependent -- while the language of music cultivates and integrates all vernaculars and traditions open to, and in, the ensemble.
Results are ever present: enhanced musicianship; discovery of structure and substance in the arc of the performance; the evolution of a social logic based on new reciprocities between human and music, and between composer and conductor, conductor as composer, instrumentalist and conductor, instrumentalist and composer -- and audience, attaining new levels of momentary logic and new clarities about the character of the work itself.
Now, this bridge that Conduction builds between notation and improvisation fuels interest. For with it, I can identify, embrace and exploit the weaknesses and strengths of both together and depict, in the process, core limitations in either. Conduction also requires its realization in physical, rather than theoretical, form to facilitate (new) kinds of augmentation. The logic of circumstance(s) dictates the maximizing of encounter, and the musical and social structures that grow from such encounter.
Conduction is vivacious in that it draws on the full expanse of musical design while asking of its musicians that they refine their capacities beyond style and cultural aesthetic or social difference.
There are as many rewards as questions here but none, it seems, as significant as that which opens pathways, both individually and collectively; pathways shuttered previously by custom or fear. And I refer to the exclusionary focus of most musical traditions and to the fear of compromising identity.
Conduction, however, is not in contestation with given forms as much as it seeks to supplement them with a greater appreciation of possibility -- a capacity for dialogue uniquely spurred by the moments and movements that appear and vanish.
At the same time, by stripping away predispositions to value this or that in music, we also construct a mirror to the kinds of relationships that subsist in society, and the wherewithal of music to challenge and transform them; a community in microcosm that functions via this dynamic.
Conduction is neither method nor process, but practicum that reveals only in practice and through all its metaphorical concepts.
A sonic arena utilizing every tool in its arsenal to construct, deconstruct and reconstruct with and from the basic properties of pitch, duration, intensity and timbre. Primed by an ‘Extra Dimension,’ which motivates us to engage and respond within, as beyond, all territory, Conduction invokes a continuum that thrives in a real-time transmission of relationships and meaning; the spontaneity and precision that we need to ignite and combust order and organization within sonic thought.
From the conductor’s perspective, Conduction is the art of “environing,” the organization of surrounding things, conditions or influences. It is a technique to capture and discover sonic information, structure and sub-structure, meaning, implication and expression (as we construct together) -- all primary values in our pursuit of coherence and poignancy, and the immediacy of place.
From the perspective of the instrumentalist, the musician learns that Conduction is ensemble skill, and that Conduction’s criteria drive attentiveness, discrimination, understanding, perception and execution. Each sign in the Conduction Vocabulary has definition, yet within that definition each musician is obliged to qualitatively define its ‘content’. The descriptive (vocabulary) thus generates prospect; and by virtue of the definition attached to each sign, each interpretation evolves by progressive self-development through historical and momentary orientation.
To contribute to Conduction, the musician reveals explicit content within the evolving work. As such, musical flexibility and potential expand as we explore a new condition of liberty to foster individual and collective freedoms in real time.
A state of risk, certainly; a distillation of immediacy, no doubt; the incarnation of a step in the evolution of music that each musician embodies – this is a goal.
Conduction is an art that flowers in contradiction (for some), ambiguity (for others) and encounter (for all involved). By constructing, deconstructing and contrasting composition at will, we forge an intermediate space, both intensive and extensive, for the evolution of ensemble music, and for a new virtuoso thus versed.
In this way, Conduction opens a range of possibility previously unknown, just barely known or in what we know all too well. After all, Conduction is a way to explore music as we make it -- a probe to mine music and the ensemble at its most basic levels.
All in all, what we have here is the evolution of a model of empirical form; a way to contribute to the musical continuum as possibility and a (new) musical responsibility where the collective determines the experience of symbolic sonic stimuli; where all forms of notation, improvisation, style and thought combine to establish a unique constellation of momentary logic (improvisation); where consciences can mature in a perfectly working precision that can never reach what is traditionally known as perfection.”
--LAWRENCE D. “BUTCH” MORRIS
|Dick Raaijmakers||piano forte '59-60||Institute of Sonology 1959-1969|
|C Marclay||Maria Callas|
|John Cage||Williams Mix||1952|
|Hu Mage||firewood, rice, oil, salt, soy||China Sonic Avant Garde 2002|
|Scott Johnson||John Somebody|
|Mike Patton||Pajama Party Horror|
|A Leper with the Face of a Baby Girl|
|Adult Themes for Voice|
|John Zorn feat. C. Marclay 1985||Godard ca vous chante?|
|Tom Broynel||reflexen||Institute of Sonology|
|Portsmouth Simfonia Orchestra||Also Sprach Zarathustra||Plays the Popular Classics|
|Ata Ekhtebar & the Iranian Orchestra for New Music||Pearly Gates|
|Little Tales 4point5|
|Richard Lerman||Travelon Gamelon Promenade version 1979||Folkways LP|
hosted along with Daniel Flessas (also of the Outside World) as two birds joining in tune...
|Ammers/Einheit||Canto I||Radio Inferno||Reihe EGO||www.discogs.com|
|Ammers/Einheit||Canto II||Radio Inferno||Reihe EGO|
|Ammers/Einheit||Canto III||Radio Inferno||Reihe EGO|
|Ammers/Einheit||Canto IV||Radio Inferno||Reihe EGO|
|Ammers/Einheit||Canto V||Radio Inferno||Reihe EGO|
|Ammers/Einheit||Canto VI||Radio Inferno||Reihe EGO|
|Ammers/Einheit||Canto VII||Radio Inferno||Reihe EGO|
|Ammers/Einheit||Canto VIII||Radio Inferno||Reihe EGO|
|Ammers/Einheit||Canto IX||Radio Inferno||Reihe EGO|
|Ammers/Einheit||Canto X||Radio Inferno||Reihe EGO|
|Ammers/Einheit||Canto XI||Radio Inferno||Reihe EGO|
|Ammers/Einheit||Canto XII||Radio Inferno||Reihe EGO|
|Ammers/Einheit||Canto XIII||Radio Inferno||Reihe EGO|
|Ammers/Einheit||Canto XIV||Radio Inferno||Reihe EGO|
|Ammers/Einheit||Canto XV||Radio Inferno||Reihe EGO|
|Ammers/Einheit||Canto XVI||Radio Inferno||Reihe EGO|
|Ammers/Einheit||Canto XVII||Radio Inferno||Reihe EGO|
|Ammers/Einheit||Kaiser Wilhelm Overdrive Vorspiel: Das Fünfte||Deutsche Kreiger||Invisible||www.discogs.com|
|Ammers/Einheit||I. Akt: Sprechmaschine||Deutsche Kreiger||Invisible|
|Ammers/Einheit||II. Akt: 01.08.1914, Königsschloß||Deutsche Kreiger||Invisible|
|Ammers/Einheit||III. Akt: Schlachtfeld||Deutsche Kreiger||Invisible|
|Ammers/Einheit||IV. Akt: 09.11.1918||Deutsche Kreiger||Invisible|
|Ammers/Einheit||Ulrike Meinhof Paradise Vorspiel: Die Fünfte||Deutsche Kreiger||Invisible|
|Ammers/Einheit||I. Akt: 02.07.1967, Fernsehen||Deutsche Kreiger||Invisible|
|Ammers/Einheit||II. Akt: 14.05.1970||Deutsche Kreiger||Invisible|
|Ammers/Einheit||III. Akt: 08.05.1976||Deutsche Kreiger||Invisible|
|Ammers/Einheit||IV. Akt: 18.10.1977, Requiem||Deutsche Kreiger||Invisible|
|Ammers/Einheit||Hindenburg At Lakehurst||Crashing Aeroplanes||FM 4.5.1||www.discogs.com|
|Ammers/Einheit||Voice Recorder||Crashing Aeroplanes||FM 4.5.1|
|Ammers/Einheit||Value Jet 592 At Miami||Crashing Aeroplanes||FM 4.5.1|
|Ammers/Einheit||To The Sky||Crashing Aeroplanes||FM 4.5.1|
|Ammers/Einheit||Value Jet 592 At Everglades||Crashing Aeroplanes||FM 4.5.1|
|Ammers/Einheit||Case Of Emergency||Crashing Aeroplanes||FM 4.5.1|
|Ammers/Einheit||EIAI 1862 At Amsterdam||Crashing Aeroplanes||FM 4.5.1|
|Ammers/Einheit||Up There||Crashing Aeroplanes||FM 4.5.1|
|Ammers/Einheit||JAL 123 At Mount Osutaka||Crashing Aeroplanes||FM 4.5.1|
|Ammers/Einheit||Autopilot||Crashing Aeroplanes||FM 4.5.1|
|Ammers/Einheit||PanAm 103 At Lockerbie||Crashing Aeroplanes||FM 4.5.1|
|Ammers/Einheit||Last Words||Crashing Aeroplanes||FM 4.5.1|
|Ammers/Einheit||Baggage Claim||Crashing Aeroplanes||FM 4.5.1|
On Dec. 20th, A Different Nature presents three radio plays by Andreas Ammer and F.M. Einheit (from Einstürzende Neubauten, Gry and his own solo work).
From 1993, comes Ammer and Einheit's Radio Inferno, a realization of Dante's Inferno - a dizzying audio collage utilizing found music to set the scene of Virgil's descent through hell. Voices by Blixa Bargeld (also of Einstürzende Neubauten), Phil Minton and the late John Peel as 'The Radio'. Also with guitarwork by Caspar Brötzmann.
In 1996, Ammer and Einheit collaborated on an ambitious and controversial piece entitled Deutsche Krieger, a bizarre and disturbing tryptich portraying three influential Germans, in their respective popular mediums: Part One: Kaiser Wilhelm Overdrive (grammophone), Part Two: Adolf Hitler Enterprise (radio) and Part Three: Ulrike Meinhof Paradise (television), with all three tied together by leitmotif of Beethoven's 5th Symphony.
And finally, in 2001, mere months before the tragic events of 9/11, Ammer and Einheit took to the skies to look at Crashing Aeroplanes, an unsettling audio collage/radio play made up of aircraft black box recordings, air disaster reporting. Probably not something you'd want to put on the iPod of a white-knuckle air traveller. This piece as commissioned by the European Broadcasting Union. In the wake of September 11th, the CD release was delayed by nearly a year, but, despite that, it was awarded the "Hörspielpreis der Kriegsblinden", Germany's highest award for radioplays.
Hosted by Rich L.
|Joelle Leandre/Akosh S.||Kor, Pt. 6||Kor||Leo 2009|
|Joelle Leandre||No Comment #6||No Comment||Red Toucan 1998|
|Joelle Leandre/Kazue Sawai||Track 1 (Untitled)||Organic Mineral||In Situ 2001|
|Joelle Leandre/William Parker||Duet 4||Contrabasses||Leo 1998|
|John Cage/Joelle Leandre||A Flower||The Wonderful Widow of Eighteen Springs||Montaigne 1996|
|Joelle Leandre/Eric Watson||Bricole Love Call||Palimpseste||Hat Hut 1992|
|Joelle Leandre/William Parker||J.L. Solo||Contrabasses||Leo 1998|
|Joelle Leandre||Reflexions||Contrebasse Et Voix||Adda 1988|
|Joelle Leandre||No Comment #9||No Comment||Red Toucan 1998|
|Carlos Zingaro/Joelle Leandre/Sebi Tramontana||Em espera - Waiting Orders||The Chicken Check in Complex||Leo 2002|
|Joelle Leandre/Rudiger Carl||Ron Ronade||Blue Goo Park||FMP 1993|
|Steve Lacy/Joelle Leandre||One More Time 2||One More Time||Leo 2006|
|Lauren Newton/Joelle Leandre||Venetian Red||18 Colors||Leo 1996|
|Joelle Leandre||No Comment #2||No Comment||Red Toucan 1998|
|Joelle Leandre||Meeting Two||At the LeMans Jazz Festival||Leo 2006|
|Joelle Leandre||Such As It Is||Live @ Banlieues Bleues||Red Toucan 1997|
|Joelle Leandre/Rudiger Carl||Oui-Non (B)||Blue Goo Park||FMP 1993|
|Joelle Leandre/Danielle Rogers||Jeux de Mains||Tricotage||Ambiances Magnetiques 2000|
|Lauren Newton/Joelle Leandre||Mars Yellow||18 Colors||Leo 1996|
|Joelle Leandre||Just Now Two||At the LeMans Jazz Festival||Leo 2006|
|Joelle Leandre/Carlos Zingaro/Rudiger Carl||Trio||L' Histoire De Mme. Tasco||Hat Hut 1995|
(host: Andy Hosch) The first in a six part series focusing on the Conductions of Lawrence D. "Butch" Morris. This series will continue on "A Different Nature" the first Monday of each month. All of tonight's selections are from the 10- disc box set: Butch Morris: Testament: A Conduction Collection (New World Records, 1995) A complete chronology of Morris' Conductions with personnel listings may be found at his website: http://www.conduction.us/ Please feel free to send comments to me: email@example.com We will be conducting an interview to air later in this series, so if you have any questions you would like to ask Butch Morris about Conduction, let me know. Thanks for listening.
Conduction #31, E I (4:30) 5/16/93
Conduction #31, E II (3:53) 5/16/93
Conduction #11, Part 1 (19:33) 12/18/88
Conduction #11, Part 2 (32:15) 12/18/88
Conduction #22 (47:24), 1/14/92
Conduction #40, E (7:59), 11/12/93
|Legendary Pink Dots||Casting the Runes||Any Day Now||Play It Again Sam|
|Legendary Pink Dots||Fifteen Flies in the Marmalade||Asylum||Play It Again Sam|
|Legendary Pink Dots||Black Zone||The Tower||Play It Again Sam|
|Legendary Pink Dots||The Lovers part 1||The Lovers||Play It Again Sam|
|Legendary Pink Dots||Premonition 13||Legendary Pink Box||Play It Again Sam|
|Legendary Pink Dots||Poppy Variations 2||Poppy Variations||Beta Lactam-Ring|
|Legendary Pink Dots||Rainbows Too?||Plutonium Blonde||ROIR|
|Legendary Pink Dots||Andromeda Suite||Chemical Playschool 8&9||Beta Lactam-Ring|
|Legendary Pink Dots||The Hot Breath on your Neck||Poppy Variations||Beta Lactam-Ring|
|Legendary Pink Dots||Torchsong/Cubic Caesar||Secnds Late For the Brighton Line||ROIR|
|Legendary Pink Dots||L'Oiseau Reve||Poppy Variations||Beta Lactam-Ring|
|Legendary Pink Dots||April's Song||Stained Glass Soma Fountains||Solielmoon|
|Legendary Pink Dots||Voices||Ancient Daze||Beta Lactam-Ring|
|Legendary Pink Dots||Curse-The Sequel||Legendary Pink Box||Play It Again Sam|
|Legendary Pink Dots||Mmmmmmmmmmmm||The Lovers||Play It Again Sam|
|Legendary Pink Dots||The Hill||Asylum||Play It Again Sam|
Tonight on ADN it was music of the Legendary Pink Dots (who were playing next door at the Doug Fir by the time the show ended) and we even aired an interview we did with Edward Ka-Spell about an hour before the show began. Hosted by Dr Zomb, Kathy, and Rolf
|Igor Wakhevitch||Ergon/Mineral-Vegital-Animal/Homosapiens Ignorabimus||Logos(Rituel Sonore)||Fractal|
|Igor Wakhevitch||Materia Prima||Docteur Faust||Fractal|
|Igor Wakhevitch||Cris pour les sabbats inrernaux et invocations des daimons||Hathor||Fractal|
|Igor Wakhevitch||Rites of the Doll||Les Fous d'Or||Fractal|
|Igor Wakhevitch||Taddy's Fruit Garden||Let's Start||Fractal|
|Igor Wakhevitch||Eau Ardente||Docteur Faust||Fractal|
|Igor Wakhevitch||Grand Sabbat Luciferien||Hathor||Fractal|
|Igor Wakhevitch||Spenta Aramati||Nagual||Fractal|
|Igor Wakhevitch||Tenebres||Docteur Faust||Fractal|
|Igor Wakhevitch||Monks in the Snow||Let's Start||Fractal|
|Igor Wakhevitch||Henry the fool of the doll||Les Fous d'Or||Fractal|
|Igor Wakhevitch||Licornes/Sang Pourpre||Docteur Faust||Fractal|
|Igor Wakhevitch||Initiation (2eme partie)||Logos||Fractal|
|Igor Wakhevitch||Danse Sacrale||Logos||Fractal|
|Igor Wakhevitch||Point Omega(mort ou resurrection)||Logos||Fractal|
|Igor Wakhevitch||Rituel of the Master of the Doll||Les Fous d'Or||Fractal|
|Igor Wakhevitch||Amenthi(Attente de la seconde mort)||Hathor||Fractal|
Tonight we listen to the music of Igor Wakhevitch. On top of composing music for Salvador Dali's 1974 opera "Etre Dieu," Wakhevitch released six records in the 1970s. The Swan's Michael Gira said of Wakhevitch "The most astonishing music I have heard in some years... Ominous and beautiful, then clamorous and Wagnerian," while a Pitchfork review of one Wakhevitch's records, "Docteur Faust," was titled "It Was the Strangest Record I Had Ever Heard." While sections of the Dali Opera have been and will be aired on Desolo Vox Luna Theatrum, I thought it'd be nice to hear from those 6 albums released in the 1970s. These albums were also reissued several years ago as the 6-CD set "Donc" by the Fractal label.
The orginal albums with year of release:
1970 Logos (rituel sonore)
1971 Docteur Faust
1973 Hathor (liturgie du souffle pour la resurerection des morts)
1975 Les Fous d'Or
1977 Nagual (les ailes de la perception)
1979 Let's Start