#electronic music from 1972 to 2022

[dustedmagazine]

Carl Stone — Electronic Music from 1972-2022 (Unseen Worlds)

Electronic Music from 1972-2022 by Carl Stone

Unseen Worlds brings us their third installment of Carl Stone archival releases. Following "Electronic Music from the Seventies and Eighties" and "Electronic Music from the Eighties and Nineties," "Electronic Music from 1972-2022" makes a stab at filling in some of the gaps from Stone's sizable list of works. Presumably by the time this review gets published Stone will have added another release to his vast discography from the last 50 years.

"Electronic Music from 1972-2022" offers an until now unheard documentation of Stone's very earliest work in the two compositions "Three Confusongs" and "Ryouund Thygizunz," both realized in 1972 at CalArts, where Stone was studying with the composers Morton Subotnick and James Tenney. The voice of Carl's old friend and band mate, the late Z'ev (at this time still known as Stefan Weisser) was used on both these pieces. In stark contrast to the other tracks on this compilation, "Three Confusongs" and "Ryouund Thygizunz" develop slowly with heavy use of delays and resonance. Yet similarly to Stone's later works' extensive use of sampling, recordings of the voice of Z'ev reading his concrete poems provide the basic working material that launches in motion these haunting and mysterious pieces.

It was also while studying at CalArts that Stone's sampling practice found its future direction. Working as an archivist in the school's library, Stone got saddled with the job of transferring thousands of vinyl records to tape. This saturated Stone's ears with a vast and seemingly incongruous selection of music that included classical repertoire, electronic composition, world music and jazz, just to name a few. Stone had to transfer multiple discs at the same time, thus creating incorrigibly random collisions from this wealth of archival material. Through this process Stone began to see the juxtaposition and repetition of musical soundbytes as the modus operandi for his compositional practice.

Working in a vein with much in common to the use of sampling in hip hop, Stone has never shied away from plumbing the depths of popular music in a fearless and unabashed disregard for any notions of what might be regarded as good taste. It is perhaps this attitude, as much as the actual samples themselves, that imbues much of Stone's work with a heavy dose of humor and playful confrontation. The composition "Vim"  from 1987 provides a good case in point, with samples from The Beach Boys' "Fun Fun Fun" being looped and chopped nearly beyond all recognition while still creating this nagging feeling of "Where have I heard this before?" Only towards the very end of the piece does it become apparent what one has just been subjected to in the form of this insidious earworm.

Stone's work can also be eminently danceable, often employing samples of drums and percussion in a process of accretion that can lead to dizzying heights of tension and release, not far in essence from Derrick May's work, such as the seminal "Strings of Life" from1987. Stone adds to this his experience from the trippy sixties, notching up the density and movement of his compositions till they take on a distinctly psychedelic feel. One can imagine whirling dervishes, The Master Musicians of Joujouka or your favorite neighborhood rave where ecstasy meets a discombobulated vortex of looping samples and very grooving beats.

Parallel to a summary of Stone's work during this fifty years, "Electronic Music from 1972-2022" also gives an overview of the development in electronic music technology which, as much as any conceptual preoccupations, often seems to have provided the impetus for much of the development in Stone's compositions. From working with Buchla synthesizers at CalArts to early samplers and Apple computers, each advancement in all this musical hard- and software has enabled Stone to dig deeper into his proclivity for iteration and sonic disorientation.

Track eight, the 2007 piece "L'os a Moelle," is a good example of this. Developed during a residency at the Groupe de Recherches Musicales studios in Paris, Stone devised a way of injecting new musical material into the shell of another piece of music. In the case of "L'os a Moelle,"  this involves using a brazenly strutting sixties rock riff as the shell and injecting a cavalcade of disparate and confusing samples, all following the tonal and rhythmic form of the original riff, which by the end of the piece has become completely subsumed by the injection of sampled material. If this description sounds confusing, then wait until you hear the track.

Three pieces from 2022 close out this compilation and in a way encapsulate all the ideas and techniques from the preceding tracks. For long-standing fans or listeners just discovering Stone's work, "Electronic Music from 1972-2022"  will provide a fascinating look back over this composer's output from the last 50 years, straddling that fine line between rigorous experimentation and hilarious irreverence.

Jason Kahn

[nohriantomatoes]

Lil bit of goncharov meta posting bc Im not really great at being able to keep up the bit 100% but I am a human with ideas.

I've seen some music written for this movie and think its time someone puts a trailer together. Full blown trailer, not just the gif sets. (EDIT: I have seen a few trailers floating around now)

There are a few ways this could break down:

1) in the style of re-enactment: the "2022" or modern trailer (or whateber year your high school project on Goncharov was). This trailer would be mediocre quality at best, the music overlayed a bit sloppy in the way someone fresh to film was, with people very obviously not the main cast filling in for the roles. Whether or not the original time piece of the movie is kept in tact is up to the director, as you could go with "this is a modern take on Goncharov" or "we are but 4 highschoolers with no budget but I promise its 1973"

2) in the same sort of re-enactment style: a commitment to a "lost 1972 trailer", the first evidence of the film or something like that. This would likely be handled by a crew of people who have filmed videos before and could better try to match the actors who have been cast in our beloved fever dream of a movie. This would likely be a project that takes a little time but for people who know how to do some digging and out together a bit, a "true" 1973 recreation could be made. Depends on the director whether or not the joke is once more "oh this was a college project" or if they want to stick with the "this is the real lost tapes, they used film for the trailer thats why its so bad"

3) in a more electronic style: those gifs and pics are coming from somewhere. Somewhere a tech genius could sit down and watch through clips of DeNiro's movies (along with other cast) to pull together enough material and slap the main theme over it. In this case the only extra acting I could see is if someone did a voice-over in the annoucers voice, but idk how common that was in the 70s and if a movie trailer would have done so.

Anyways this is one of those moments when I wish I knew how to do anything related to the bit but I am shit with film and acting, so I figured I would at least spew my ideas into the ether.

[snackpointcharlie]

The latest dispatch of whatever from wherever, live-ish (more or less) from deep in Ulster County. Meditate, cogitate & ambulate starting 10pm on WGXC 90.7 FM and streaming at WGXC.org, podcast now - neither snow nor rain nor gloom of night shall stay Snackpoint Charlie from posting a track listing and download link, eventually

Much gratitude to Radio is a Foreign Country for letting us merge with their stream at various points during this episode https://www.radioisaforeigncountry.org/

Snackpoint Charlie - Transmission 115 - 2023.05.17 PLAYLIST https://wavefarm.org/wf/archive/xhcsvd [ ^ click for download ^ ]

1) Acid Mothers Temple - “Dark Star Blues” from LEVITATION SESSIONS https://www.youtube.com/watch?v=YlGjzvt-Eto

2) Carl Stone - “Flint's (1999)” from ELECTRONIC MUSIC FROM 1972-2022 https://carlstone.bandcamp.com/album/electronic-music-from-1972-2022

3) JUU4E - “เทวดาเมตตา? [Angel, Have Mercy]” from โลกบ้า (CRAZY WORLD) https://emrecords.bandcamp.com/album/crazy-world

(underbed throughout:) Pinchas Gurevich - “Sputtering Doreena”

4) Sami Rageb - “Alfleila” from HYETTI - EGYPTIAN MUSIC https://www.discogs.com/release/4025800-Sami-Rageb-Hyetti-Egyptian-Music

5) Rully Djohan - “Bubuj Bulan” https://soundwayrecords.bandcamp.com/album/bubuj-bulan-naghm-el-uns

6) Guitar Red – “Disco from a Space Show” from PERSONAL SPACE (ELECTRONIC SOUL 1974-1984) https://www.discogs.com/release/3607412-Various-Personal-Space-Electronic-Soul-1974-1984

7) Cipta Rudi - “Cing Cang Keeling feat. Junk-D & Herdy” from HIPHOP SUNDA... WANI NGADU! https://madrotter-treasure-hunt.blogspot.com/2021/01/sundanis-hiphop-sundawani-ngadu.html

8) BCUC - “Ramaphosisa” from MILLIONS OF US https://bcuc.bandcamp.com/album/millions-of-us

9) Bedouin Burger - “Nomad” https://www.youtube.com/watch?v=A-Gpzeo0IbE

10) The Equadors - “I’ll Be The One” https://www.discogs.com/release/4608194-The-Equadors-Sputnik-Dance

11) Sam & Yanti - “Melati” from BIMBO GUEST STAR YANTI https://www.discogs.com/release/15820983-Bimbo-14-Iin-Yanti-Bersaudara-Bimbo-Guest-Star-Yanti

(many of the following selections are excerpts)

12) Jeff Carney - “Cloud # 9” from IMPERFECT SPACE JOURNEYS https://www.discogs.com/master/1701721-Jeff-Carney-Imperfect-Space-Journeys

13) Alan Watts - “How to Completely Let Go” https://www.youtube.com/watch?v=_F_-fTJvEw0 http://alanwatts.org

14) Sublime Frequencies - “Bangkok, Thailand” from A DISTANT INVITATION: STREET & CEREMONIAL RECORDINGS FROM BURMA, CAMBODIA, INDIA, INDONESIA, MALAYSIA AND THAILAND https://www.sublimefrequencies.com/products/576333-a-distant-invitation-ceremonial-street-recordings-from-burma-cambodia-india-indonesia-malaysia-and-thailand

15) Lam Phaen Sister No. 1 - “Lam Phaen Motorsai Tham Saeb (That Goddam Motorsai!)” from THAT GODDAM MORTORSAI! THE BEST OF LAM PHAEN SISTER NO. 1 https://emrecords.bandcamp.com/album/that-goddam-mortorsai-the-best-of-lam-phaen-sister-no-1

16) Andrés Landero - “Rosa y Mayo” from YO AMANECÍ https://vampisoul.bandcamp.com/album/yo-amanec

17) Lydia Carey - “Angrier Junk-Man” from THE SOUNDS OF MEXICO CITY REVEALED http://mexicocitystreets.com/2016/09/29/sounds-mexico-city-revealed/

18) Tucker Martine/Sublime Frequencies - “Radio Bamako!” and “Fouta Djallon” from BUSH TAXI MALI: FIELD RECORDINGS FROM MALI https://sublime-frequencies.bandcamp.com/album/bush-taxi-mali-field-recordings-from-mali

19) Myke Dodge Weiskopf - “Voice of Nigeria - 04 Aug 2010 [2149UTC] 7255 Khz #3” from SHORTWAVE MUSIC https://www.myke.me/

20) Grup Reak Juarta Putra (West Java) - “Reak Melody” from AURAL ARCHIPELAGO ARCHIVE https://www.auralarchipelago.com/auralarchipelago/reak

21) 渡辺はま子 [Hamako Watanabe] & 宇津野清 [Kiyoshi Utsuno] - Daiei Ei “Phoenix” theme song

22) Cheryl E. Leonard - “Ablation Zone” from ANTARCTICA: MUSIC FROM THE ICE https://othermindsrecords.bandcamp.com/album/antarctica-music-from-the-ice

23) Somalia - Ostinato Records (artist & title undocumented)

24) Naujawanan Baidar - “Aftab Zadagi/Signal Disintegration” from VOLUME 1 https://radiokhiyaban.bandcamp.com/album/volume-1

25) Jesse Paul Miller - “Ta Phrom” from អង្គរ ANGKOR https://jessepaulmiller.bandcamp.com/album/angkor

26) Al Margolis - “Elusive Misanthropic Manul” from GRAPHIC SCORES https://haha.institute/album/haha-3

27) Поющие Гитары (Singing Guitars) - “Ноктюрн (Nocturne)” from ПОЮЩИЕ ГИТАРЫ https://www.discogs.com/release/4670698-%D0%9F%D0%BE%D1%8E%D1%89%D0%B8%D0%B5-%D0%93%D0%B8%D1%82%D0%B0%D1%80%D1%8B-%D0%9F%D0%BE%D1%8E%D1%89%D0%B8%D0%B5-%D0%93%D0%B8%D1%82%D0%B0%D1%80%D1%8B

28) Hardy Fox - “25 Minus Minutes” from 25 MINUS MINUTES http://www.klanggalerie.com/gg299

29) Linda Mary Montano - “Ashes/Ashes” from MA AND THE SEVEN CHAKRAS https://www.youtube.com/watch?v=RfQcADi1JVg

30) Sahel Sounds - “Takamba, radio emission, Gao, Mali” from FIELD RECORDINGS FROM THE SAHEL https://sahelsounds.bandcamp.com/album/field-recordings-from-the-sahel

[miragestation]

Mirage Station playlist for April 19th, 2023

1. Belgenland Jazz Band “恋こそ我が心 (I Can't Give You Anything but Love, Baby)” from ハタノ・オーケストラとその時代 ~ダンス音楽楽団の誕生~  2. Adam Buffington “For Ragnhei–ur” from Rural Trash (Chocolate Monk 2023) 3. Grant Cutler “Hedge Path” from Garden (Æther Sound 2023) 4. Carl Stone “Noor Mahal” from Electronic Music from 1972-2022 (Unseen Worlds 2023) 5. Uské Orchestra “Une chaise, une fanfare” from Moli Herzog (Ambivalence 2003) 6. Beatings Are In The Body “Triploop” from Beatings Are In The Body (Self-released 2023) 7. Leslie Keffer “Larkspur” from Pollutes (No Part Of It 2023) 8. Giuseppe Ielasi & Nicola Ratti “II” from Bellows (Kning Disk 2007) Listen in the archives

[justforbooks]

Evángelos Odysséas Papathanassíou (29 March 1943 – 17 May 2022), known professionally as Vangelis, was a Greek musician, composer, songwriter and producer of electronic, progressive, ambient, and classical orchestral music. He was best known for his Academy Award-winning score to Chariots of Fire (1981), as well as for composing scores to the films Blade Runner (1982), Missing (1982), Antarctica (1983), The Bounty (1984), 1492: Conquest of Paradise (1992), and Alexander (2004), and for the use of his music in the 1980 PBS documentary series Cosmos: A Personal Voyage by Carl Sagan.

Born in Agria, Vangelis began his career working with several rock bands of the 1960s such as The Forminx and Aphrodite's Child, with the latter's album 666 (1972) going on to be recognized as a progressive-psychedelic rock classic. Throughout the 1970s, Vangelis composed scores for several animal documentaries, including L'Apocalypse des Animaux, La Fête sauvage, and Opéra sauvage; the success of these scores brought him into the film scoring mainstream. In 1975, he set up his new 16-track studio, Nemo Studios in London, which he named his "laboratory", releasing many solo studio albums on which he experimented with music and concepts, including Heaven and Hell and China among others. In the early 1980s, Vangelis formed a musical partnership with Jon Anderson, the lead singer of progressive rock band Yes, and the duo released several albums together as "Jon and Vangelis". He also collaborated with Irene Papas on two albums of Greek traditional and religious songs.

In 1980, he composed the score for the Oscar-winning film Chariots of Fire, for which he won an Academy Award for Best Original Score. The soundtrack's single, the film's theme, also reached the top of the US Billboard Hot 100 chart and was used as the background music at the London 2012 Olympics winners' medal presentation ceremonies. He also composed the official anthem of the 2002 FIFA World Cup held in Korea and Japan. In his last twenty years, Vangelis collaborated with NASA and ESA on music projects Mythodea, Rosetta and Juno to Jupiter, which was his 23rd and last solo studio album in 2021.

Having had a career in music spanning over 50 years and having composed and performed more than 50 albums, Vangelis is considered to be one of the most important figures in the history of electronic music, and modern film music. He was known for using many electronic instruments in a fashion of a "one-man quasi-classical orchestra" composing and performing on the first take.

For a musician of his stature, little was known about Vangelis's personal life and he rarely gave interviews to journalists. In 2005, he stated that he was "never interested" in the "decadent lifestyle" of his band days, choosing not to use alcohol or other drugs. He also had little interest in the music industry business and achieving stardom, realising "that success and pure creativity are not very compatible. The more successful you become, the more you become a product of something that generates money". Instead, he used it to be as free and independent as possible and often rejected the opportunity to promote or capitalise on his fame.

Vangelis's place of residence was not publicly known; instead of settling in one place or country, he chose to "travel[ed] around". He did own a house by the Acropolis of Athens which he did not renovate. Vangelis did not have children; in 2005, he was in his third long-term relationship and said: "I couldn't take care of a child in the way I think it should be taken care of." Excerpts from other interviews mention that Vangelis had married twice before, one of which was to French photographer Veronique Skawinska, who produced work for some of his albums. A 1982 interview with Backstage suggests that Vangelis was previously married to Greek singer Vana Veroutis, who provided vocals for some of his records.

Although a very private person, according to many accounts he was an "inordinately approachable", "really nice" and "humorous" man, who enjoyed long friendly gatherings, was fascinated by Ancient Greek philosophy, the science and physics of music and sound, and space exploration. His daily activities mainly involved combining and playing his electronic instruments and the piano. He also enjoyed painting. His first exhibition, of 70 paintings, was held in 2003 at Almudin in Valencia, Spain. It then toured South America until the end of 2004.

Vangelis died of heart failure on 17 May 2022, aged 79, at a hospital in Paris. He was suffering from several health issues in the last couple of years and allegedly died of COVID-19 complications, according to a number of reports.

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[kirliancamera1]

Underground Rock Report Magazine Brazil has published an 18-page interview with Kirlian Camera's Elena Alice Fossi & Angelo Bergamini (English text hereunder). Enjoy reading! (Photo by Terri Harrison, 2022) A) Interview with Angelo Bergamini

1 - First of all, Angelo, thank you very much, and I would like to ask you a few questions not only about Kirlian Camera, but also about all their musical activity since the 70s, including Hypnosis, Andromeda Complex, East Wall, Criminal Asylum and Ordo Ecclesiae Mortis. Of these projects, one that really catches my attention is the Uranium USSR 1972. As far as I know, this was one of his first groups. However, only in 2007 an album was released, “Avarie”, with the participation of Elena. Tell us a little about this project and why it took so long for an album to be effectively released. Angelo Bergamini: No well, Uranium USSR 1972 is not in great demand and I don't put much effort into promoting it. Basically, we're never very interested in frenzied promotion. Let's say Uranium is not an easy project; it's music that can also make you nervous and it takes some time to digest it. Elena really likes it and so she was the one who took care of the debut album release, dealing with illustrations, artwork, graphics, design, videos and also helping in production. However, Andromeda Complex, East Wall and Criminal Asylum are projects of friends, in which I have worked as a producer and, at times, even writing or co-writing some tracks.

2 - I read, in an interview with you, that you were part of The Cosmic Jokers, an innovative German band of experimental and electronic music from the 70s, in which the great musician Klaus Schulze was also a part. Tell us a little about how it happened, how your experience was. Did you and Schulze meet and play at the same time? Can the work of Schulze and Tangerine Dream, which he was a part of, be considered an important influence on Kirlian Camera's musicality? Angelo Bergamini: the story behind my possible collaboration with Cosmic Jokers is that Roberto Cacciapaglia - at the time keyboardist and collaborator of Franco Battiato - had just released an album for the German label Cosmic Couriers and was invited to join the group, wondering if I was interested in joining it too. Well, I was 17 and it was like a dream. A dream that didn't last long, because Roberto declined the invitation a few days later. Maybe there had been some misunderstanding, I don't know; the fact is that I too could not add myself to the project. I was too young, without money and I spoke nothing but Italian, so failing the "bridge" with the Jokers, everything went down...

3 - Speaking of which, what other bands originally influenced you in your musical formation? Can Vangelis be considered one, given that one of your first commercial successes was your 1984 cover of Pulstar with the band Hipnosis? Angelo Bergamini: Vangelis... yes, I've gladly followed him since the time of Aphrodite's Child's “666”. His brother Niko, who was a producer, had some relationship with the Hipnosis project when I was part of it and I remember that we went platinum due to huge sales in many countries around the world. Apart from Vangelis, in the past I have listened with passion and will to the works of Popol Vuh, Klaus Schulze, Tangerine Dream, Neu!, Kraftwerk, Can, Amon Düül I and II, Faust, David Vorhaus's White Noise with Delia Derbyshire, Nico, Balletto di Bronzo, Goblin, Sensations' Fix, Chrisma, Le Orme, Automat, Giorgio Moroder and above all Pink Floyd.

4 - Personally, as a Brazilian fan, I can see a very interesting connection between Brazil and Kirlian Camera. After the departure of the first vocalist, Simona Buja, KC released, in 1988, a song and one of its most classic albums, Eclipse, with a new vocalist, Bianca Hoffman Santos, who, as far as I know, is Brazilian. I know little about this vocalist other than that. I never found pictures of her or other later works. Tell us a little about how a singer of Brazilian origin ended up in the band and recorded one of the most classic albums. What happened to her afterward? Angelo Bergamini: Kirlian Camera have always had a particular connection with Brazil and South America in general. I haven't been in contact with the people you mention for a long time. Anyway, Simona Buja was born in Maracai/Brazil, Bianca Hoffmann is Italian and married to a Colombian, Franca Egaddi, who was our excellent keyboard player in the 80s, is from Lima. Elena Alice has some relatives in Porto Alegre... well, you can see for yourself such a natural relationship!

5 - From the 2000s until now, with Elena's entry into the band, it seems to me that you started participating less in other projects and focusing more on Kirlian Camera, with the exception of the Stalingrad Valkyrie project, initially just Stalingrad, with Elena. In particular, I have these two albums, “Court Martial” (2002) and Martyrium Europae (2019) as two of my all-time favorite albums together, of course, with others by Kirlian Camera. Are there any expectations for future new releases with the Stalingrad Valkyrie? Angelo Bergamini: Basically, SVK is Elena's project, given that she writes most of the material. I don't know whether she plans to release an album right away, but I guess she'd like to release a single/ep of unreleased and rare material in 2022. An SVK track will be featured on the future Kirlian Camera album, by the way. The connection between the newer KC and Stalingrad Valkyrie is turning out to be a little more evident than in the past, today.

6 - Again talking about affinities between Kirlian Camera and Brazil, the band's current bassist, Mia Wallace, is also part of an important Brazilian heavy metal band, Nervosa, which, with the new formation, became a multi national band. At least in concerts, I perceive a certain intention to bring Kirlian Camera's electronic sound closer to the weight of metal. Is this intentional? Besides, obviously, electronic music, is there any influence from heavy metal bands on Kirlian Camera's musicality? Angelo Bergamini: no, I don't think Kirlian will ever become a rock band, because... they already are a rock band, hahaha! Let's say that both Elena and I belong to the rock world and the fact we are mainly electronic musicians doesn't deny our reality. We grew up listening to really everything and for sure there was no lack of rock, mostly metal, even more in recent years. I myself am using the guitar in the studio, albeit heavily processed, so much so that it sounds like a synth, often. I've listened to many bands like Blue Oyster Cult, Hawkwind, Deep Purple, up to Tool, Darkthrone, Triptykon, Black Sabbath, Emperor, Rammstein, Queensryche and Dol Ammad, then Elend, Anathema, Nine Inch Nails, My Dying Bride, Moonspell, ending up in the most genuinely extreme turns of metal, which have a lot to do with kinda horror music, maybe more than with metal itself. I'd like to add Suicide; I know it is ain't a strict rock project, but they've been more rock and transgressive than rock many bands made of “actors”... I think there were various contact points, between them and KC, mostly because of the reason I've been saying at the beginning... I find that Kirlian are one of the most genuine rock bands that have ever existed, if avoid talking about stereotypes, of course.

7 - Since we have mentioned the relationship between Kirlian Camera and Brazil so much, on June 15, 2013 the first Kirlian Camera concert in South America should have taken place, at Madame Club, in São Paulo. We were all very sad at the time when, the day before, the show was canceled. Much has been said about the motives. Could you clarify what led to the cancellation of the show and if there is, in any way, still the possibility of Kirlian Camera performing, someday, in Brazilian lands? Angelo Bergamini: It's very simple. After taking the highway to the airport we were trapped in a traffic jam for hours, arriving at our destination when the flight had already gone. We then looked for an alternative flight, but that would left too late to land in Sao Paulo in time. Realizing that there would be no chance of having any success, we asked the agency that represented us at the time to solve the problem with the local promoters, but the agency didn't care (I want to say that the same person I'm talking about made me have a hard time five years later to get the reimbursement of an expense that we had anticipated with our own money, and I managed to get that sum back only thanks to the aid of a mutual friend). Because of that canceled date we lost a chance we had long wanted to realize, lost money, promotion and what makes us angrier... nobody knows the truth, also because I foolishly tried to defend those who had a fault and I must say it was more than just one person. So, if that wasn't enough, we even had to make a bad impression... Well, today the people who complicated our relations with Brazil promoters are all gone, therefore we want to make an offer from the band... We can perform at the place that was supposed to host us at the time and for that possible concert we'd renounce the fee coming from the tickets sale, as long as at least one other date is added to a show in Brazil or South America. We are really tired of paying for sins that are not ours, so even though we haven't actually made mistakes... we'd like to meet the promoters, sooner or later, wishing to show our good will. Hopefully, that will come true.

8 - During these long months of pandemic, Kirlian Camera focused on writing and presented us with the great double album (and triple album), Cold Pills (Scarlet Gate of Toxic Daybreak). Now, with the progressive resumption of shows, what are the band's priorities for 2022? The band has also already announced the prospect of a new EP and a new album. Talk about Kirlian Camera's priorities for the coming year. Angelo Bergamini: Well, some things have been changing, in the meantime. First I can say the announced EP release has been canceled, but... we opted to release the new album in its place, the second chapter of the trilogy started with “Cold Pills (Scarlet Gate of Toxic Daybreak)”. The material is almost ready. Maybe it'll be sounding as even "less sunny" than the previous one, but our mood is showing quite a gloomy musical orientation in this period and it isn't only because of the bullshits the governments are doing. I don't foresee many live concerts for Kirlian Camera, since both Elena Alice and I DO NOT ACCEPT any imposition of passes and vaccination certificates, so we're cut off from the circle of "fake rebels", who undeterred keep on drooling to make a shity concert after licking the ass of the authorities. I say all this calmly, 'cause the anger I feel will manifest itself in other ways. I'm not here to be a compliant witness to any criminals. Kirlian Camera would die the moment it lent itself to certain sinister ideologies...

9 - For the next album, can we expect some special guest appearances, as happened in Hologram Moon (2018), with producer John Fryer and Covenant vocalist, Eskil Simonsson? Angelo Bergamini: yes, there'll probably be some guests. If it doesn't come with the Kirlians... it'll be with a new project, but now let's avoid talking about it... the enemy is listening to us... haha! 10 - Finally, would you like to leave a message for the Brazilian fans of Kirlian Camera? Angelo Bergamini: see you on the other side of the world, happy, after the war. That war we will win.

***

B) Interview with Elena Alice

1) First of all, thank you so much Elena, and please correct me if I cite any wrong information in any question. I would like to start with a question a little more personal. I found it quite curious to read somewhere that, although you are Italian, you were born in Miami. It's a little curious to imagine some kind of American ancestry in you. I would like to know if this is a fact and if, therefore, you feel, in some way, also a half American... if you feel some affinity with the culture of that country or do you see this as just a coincidence of fate, without much importance? Elena Alice Fossi: Miami seems to me more of a legend than anything else. Surely, it is a practically non-existent chapter in my life. I came to discover that I was born there and not in Italy, but after a few months from my birth my family returned to their homeland. Let's say that until a certain moment everything was kept quiet, I don't know if for reasons of clandestinity... but my family and I are Italians. I deeply feel the Italian matrix in me, even if I tend to look beyond the limits of the world. And, in any case, the world looks more beautiful if I wander around that incredible Country that Italy is! I'm referring to its stunning beauty, which is experiencing its own excruciating torment... On the other hand, “beauty seems to be a sin", in this narrow and hopefully changing universe.

2) Well, going to music, I would like to talk a little bit about your side projects, which go beyond Kirlian Camera. You released two great albums as Siderartica, before revamping the proposal and creating Spectra Paris. What led you to end activities as Siderartica and create Spectra Paris? Elena Alice Fossi: I didn't have a particular need to change my name, but I felt that Siderartica was showing signs of stress within the group and this didn't suit me. In addition, I had in mind to compose material sounding a little more aggressive and glamorous at the same time, so SPECTRA*paris was born under the sign of such a renewal. The first album sold well, but, once again, I did not feel comfortable with the image that was taking shape and I feared that image might also lead that project to drift, so after some hesitation, I decided to integrate Angelo full time and call John Fryer to lend a hand, so "Retromachine Betty" was born, with a more electronic and nostalgic character than previous works with Siderartica and S*P.

3) Spectra Paris' latest album, Retromachine Betty (2017) is quite different from the previous three, which have more guitars and other members, all also female, which gave the group a very strong female image. The latter is more synthetic, more electronic and more individual. Can we expect any new releases in the short or medium term like Spectra Paris? Is there any possibility of a future album more along the lines of the first three (dead models Society – 2007; Christmas Ghouls and License to Kill, both from 2010), again with more guitars and the same or new members? Elena Alice Fossi: The album I'm working on continues on a “lonewolf line” and not very fit for any intrusions. It can be said that it lives on a melancholy vital pulse, which echoes from the 80s and early 2000s peep out here and there. There is a kind of intimacy quite free of complications and full of subtle energy. Perhaps it is more connected to Siderartica, in some songs, then in others the rhythm comes back, for example on a song I made in collaboration with Fakeba, an African singer very fascinated by electronics, who sings in Wolof language and with whom I shared beautiful moments in Senegal. She recently made a good album with John Fryer. What came out of it is a song waving a little between early Giorgio Moroder and the recent Kirlian Camera! Then I wanted to find a certain affinity with a simpler, more direct and less elaborate electronic sound, a bit like it happened in the synth-wave years, which I love very much musically, even if at the time I was too young to be able to take part in that scene! As you can see, we never sleep on stereotypical models and we always try “evolving our inspiration”.

4) In 2012, you did a series of acoustic shows, with the Alice Neve Fox project, with Kirlian Camera classics and covers by bands like Muse and Pink Floyd. At the time, there was talk about a possible live album. Is there any possibility of this project being reactivated and this live release finally happening? It would be a nice release. Elena Alice Fossi: It's a hibernated project at the moment, but I'm not ruling out anything... anyhow any album would be rigorously recorded live.

5) Speaking of Pink Floyd, I noticed, on youtube, among the comments of the Hellfire video, many people commenting that they discovered Kirlian Camera through an interview in which David Gilmour praises KC's cover of Comfortable Numb. Particularly, I have never been able to find this interview, but I believe it is real as several people have commented. Are you aware of this? Did you see this Gilmour interview praising Kirlian Camera? If you've already seen it, and I say this as a huge fan of Kirlian Camera and Pink Floyd, how do you feel about receiving this public recognition from someone so important and influential to world music as a whole, like David Gilmour? Elena Alice: I honestly must say I know nothing about such a topic. I suppose that's just gossip. Then, since we took part in an official tribute to Floyds called “Pink Floyd in Jazz” which is acknowledged by Gilmour and friends... some rumors have been probably generated, don't know. Anyway... I'm honored in case the appreciation turns out to be real!

6) Going back to the origins, I once told you about my curiosity about your first project, La Fille Biase, and you told me you only had a k7 tape with some songs from that phase. Certainly, like me, many fans are curious to know their musical origins and this material that is so rare today. Would there be any possibility of these songs one day being re-recorded or at least their original recordings being made available to fans, at least in mp3, if only as a curiosity for the most ardent fans? Elena Alice Fossi: I have never seriously thought about publishing any material written by La Fille Biaise, but Angelo insists that should happen, instead. I don't know, it sounds like very rough material to me, so distant from what today I have in mind, but Angelo usually has good intuitions as a producer: he has also worked and works under a nickname with projects being very far from what one could ever imagine, I mean highly successful projects, film soundtracks, commercials... So we'll see if he will really convince me in the end!

7) In addition to Kirlian Camera and all these other works, you still have time to participate in several other projects by other people, such as Blank, Seasurfer, Black Needle Noise, New Processean Order and Stalingrad (with Angelo), Jean-Marc Lederman and even some more unusual appearances, such as in a video by the Italian industrial music band Teatro Satânico, and even a rap song, “Stolen Children”, with rapper Cyberap. Are there any of these entries that you liked the most or some that disappointed you a little? For the future, is there any project in this sense that you would like to talk about? Elena Alice Fossi: No, I wouldn't say I was disappointed by any of the projects you mention, and I also like to remember the collaborations with Jarboe of the Swans and the live one with Ulrike Goldmann from Blutengel. Teatro Satanico is not on my list though, because I've never done anything with them. Perhaps many relate New Processean Order to Teatro Satanico so maybe the error stems from that fact. I recently took part as a singer and composer in the American project Beauty In Chaos by Michael Ciravolo, the same did members of The Cure, Ministry, Van Halen, Cheap Trick, Offspring, Mission/Sisters Of Mercy among others before me and today excellent singers such as Whitney Tai and Cynthia Hussey are involved in. so I'm in good company, surrounded by highly respected musicians, trying to combine my "expressive valve" with the projects that host me.

8 - Kirlian Camera's latest album, Cold Pills (Scarlet Gate of Toxic Daybreak), from 2021, is, in my view, one of the best albums, along with the classic Eclipse (1988), Shadow Mission Held V (2009), and Nightglory (2011). And it's arguably the longest as well, with 21 songs in its triple-CD version. Tell us a little about the album's writing process within the context of the pandemic and the impossibility of performing for so long. Elena Alice Fossi: I am honored to have taken part in all the works of Kirlian Camera from 1999 onwards... let's say from 2000... but writing the last album with Angelo was for me a real adventure in life, our life. We looked for the purity of our nightmares, dreams, and I think we succeeded in giving life to an album that couldn't care less about what we economically need, so it will be the same with the next release. In spite of everything, the German audience in particular rewarded our “reckless joy” by sending us to the charts once again, and I must frankly say we didn't expect that! OK, we only got to the 19th place of the official top-100, but we were surprised by the reception that this album has been awarded, an album which certainly contains quite gloomy implications, even if sometimes mixed with more quiet pages (a slightly disturbed quiet, though...). We have entered a path made of references to discomfort, drugs, alcohol, paranoia, but which still takes into account a little of that "reckless joy" I was talking about above and which is not too far from the concept of the Hagakure, an old book so often mentioned and analyzed by Yukio Mishima, or from the secret Gospel of the revealed Christ. I know that I am citing titles that aren't that loved by the false tyrannical democracy that surrounds us, but what can I do... I was not born smart and I really care about the concepts of justice, loyalty, honesty. Even if seasoned with nightmarish nights and days, in which you think you are going crazy, in which you think you will not really make it anymore!

9) A personal curiosity: the last song on the album, Twins Pills, has a very beautiful and ethereal sound, which reminds me a little of the style of the Scots in Cocteau Twins. Considering the title of the song, I would like to know if the coincidence was intentional, if there is some kind of tribute or reference to the band of Liz Fraser and Robin Guthrie? Elena Alice Fossi: The musical reference of "Twin Pills" is to be exactly found in the music of Angelo Badalamenti and Julee Cruise, since the relationship with "Twin Peaks" is evident and even mentioned. I didn't think about the Cocteau Twins while composing, but your question is understandable.

10) Taking advantage, could you name some bands or artists that you like, listen to and that, in some way, influence your music? Elena Alice Fossi: I have listened mostly to contemporary, classical and film music over time ... musicians like Arvo Pärt, Zbigniew Preisner, Ennio Morricone, Angelo Badalamenti, Hans Zimmer, Giovanni Da Palestrina, Hildegard Von Bingen, then Doors, Ultravox, Laibach, Dol Ammad, Sparks, Heilung, Pink Floyd, Rammstein, David Bowie, Johnny Cash...

11) You have already announced, for 2022, the release of a new EP and a new album, which should be part of a trilogy, along with Cold Pills. Could you talk a little about these new projects for 2022? Elena Alice Fossi: I can say I totally agree with what Angelo has previously expressed. The new album, the second of the announced trilogy, will be likely available in a few months, preceded by a single that we would like to release pretty soon on possibly free digital download, so as to start the new year with some energy. It may be that in 2022 a new SPECTRA*paris album, temporarily titled “Junk Shop Tales”, will also be released, as well as a special single by Stalingrad Valkyrie.

12) Finally, would you like to leave a message for your fans in Brazil? Elena Alice Fossi: We missed an opportunity to look each other in the eye, long ago, and now we live in this imposed paralysis that is killing the soul to save the body. Don't give up, don't be afraid, but above all, break those rules that go break your moral law!

[usmaradiomagazine]

🔴 ON AIR - Tuesday 7 June 2022 at 7:00 pm (CEST) - usmaradio.org USMA for Radioart106 - @radioart106 #147: 𝗠𝗮𝗮𝘆𝗮𝗻 𝗧𝘀𝗮𝗱𝗸𝗮 - 𝘁𝗿𝘂𝗲 𝗯𝘂𝗴𝘀 [49 min] true bugs is the 2nd episode from Maayan Tsadka’s radio show “Prehistoric Harmony”; a radio show about musics, acoustics, ecology and cosmology, commissioned by Radio Halas. true bugs is a collection of buzzing-rubbing-rattling-chirping sounds. From field recordings to folk songs, ethnographic records to acoustic and electronic compositions. Australian termites, Woodboring beetle larva chewing in black spruce trunk, Ligeti, David Dunn’s recordings of bark beetles, the 17-year periodical cicada (Magicicada septendecim), pre-columbian whistles, Bartok, early electronic piece by Ann Mcmillam and a sago beetle mouth harp from 1960s Papua New Guinea.

Maayan Tsadka is a composer, sound artist, improviser and teacher. At the root of all my works is an attempt to grasp some understanding about the nature of sound, its behaviours, acoustic ways of organization, and its environmental and social roles. I am interested in uncovering and amplifying layers and musical patterns—hidden, inherent structures— which occur acoustically, as well as in an exploration of the ways in which the sonic phenomena meet the physiology of the ear and the psychology of listening. My work often incorporates a dimension of imaginary and speculative sonic worlds, on the line between crypto-zoology, crypto-botany and futuristic folklore. Current fields of research and creative work include prehistoric harmony, sonic taxonomy, sound as a museal exhibit, field recording, and echo/resonance in musical, natural, political and social contexts. Completed a DMA in music composition from UC Santa Cruz in 2015 and currently resides in Haifa. Teaches at Haifa University and Sapir College. Research fellow at the Morris-Kahn Marine research station, Charney School of Marine Sciences, Haifa University. Co-artistic director/composer/performer at the Tel-Aviv based ensemble Musica Nova. https://www.maayantsadka.net/ tracks list

1.     Cyphoderris Monstrosa (Orthoptera: prophalangopsidae), male singing on lodgepole pine tree trunk. Recorded by John Acorn. Slowed down by 80%.

2.     La Cucaracha. Popurrí revolucionario.

3.     5 short bugs recordings made by Richard Mankin. From the site “bug bytes” https://www.ars.usda.gov/ARSUserFiles/3559/soundlibrary.html a. Cotesia marginiventris (Braconid parasitoid callinging song)b. Bactrocera tyroni (Queensland fruit fly calling song)c. Aedes albopictus (Asian tiger mosquito)d. Solenopsis invicta (Fire ant stridulation)e. Drepanotermes (Australian termites, headbanging).

4.     Didjeridu puller with rhythm sticks. From the album Tribal Music of Australia. 1949 folkways records. 

5.     Nyindi-Yindi Corroboree Group of Wadjiginy. From the album Tribal Music of Australia. 1949 folkways records. 

6.     John Acorn, an entomologist at the University of Alberta. These recordings accompany an article by Dr. Acorn called "Insects and the Soundscape," which appears in the Winter 2015 issue of American Entomologist. The recordings: a.     Wood-boring beetle larva chewing in black spruce trunkb. Various orthopterans singing in dry inter-dune grasses and shrubsc. Cyphoderris monstrosa (Orthoptera: prophalangopsidae), male singing on lodgepole pine tree trunkd. Circotettix Carlinianus (Orthoptera: Acrididae), male crepitating in flight, over badlands e. Calliphorid flies on lamb’s quarter.

7.    Béla Bartók. Mikrokosmos - No. 142, From the Diary of a Fly . Piano: Kiyotsugu Arai.

8.    Double Flute, 2 x 2 Orifices (Colima) by Johre Daher. From the album Pre-Columbian Instruments of Mexico. 1972 smithsonian records.

9.    Periodical Cicadas Overrun the Forest | Planet Earth | BBC Earth (youtube conversion).

10.   Same recording as 9, slowed down by 80%.

11.  Cicada in Malaysian rainforest.  recorded in 1981-87 by Marina Roseman. From the album Dream Songs and Healing Sounds in the Rainforests of Malaysia, Smithsonian records 1995.

12.  György Ligeti. Continuum. Harpsichord – Antoinette Vischer.

13.  Dong Song - Song of Cicadas. The Dong ethnic group at Chinese New Year Eve's CCTV Gala in 1994. YouTube conversion. 

14.  The Dimen Dong Folk Chorus Performs the Cicada Song. youtube conversion. Catalog No. CFV10568; Copyright 2013 Smithsonian Institution.

15.  Josquin des Prez. El Grillo (The Cricket). Performed by Prophets of the perfect fifth.

16.  Ann Mcmillan. Amber ‘75. from the album Gateway Summer Sound:Abstracted Animal and Other Sounds. folkways records, 1979.

17.  David Dunn. excerpt from the album the sound of light in trees. Earth Ear –ee0513, 2006. 

18.   A sago beetle mouth harp from 1960s Papua New Guinea. Recorded by robert Mcmillan. Wam tribesman, Sepik area, New Guinea. From BBC  LP REC 68M,   1970  "John Peel's Archive Things". 

19.  Call of the cicada (Utom kuleng helef) by Lendungen Simfal, Ihan Sibanay. From the album Utom: Summoning the Spirit. (music of the T’boli, a group of approximately 80,000 people living in small, scattered villages in the mountains and valleys of Southwestern Mindanao, Philippines). Mickey Hart Collection 1997.

>> Radioart106 explores radiophonic works of worldwide radio artists. Radio art is a subset of Sound art where radio art is produced for the medium of radio and is specifically intended for broadcast. A new radio work will be aired every first Tuesday of the month at 7:00 pm CEST on usmaradio.org