TIME TRAVEL RADIO by Jamie Carreiro

Time Travel Radio is a music player that navigates through time. There are only two knobs: one controls power/volume, and the other sets the year.  You fill it with songs from throughout your life, then use music to travel through time.

techspec_good.jpg

Source: TIME TRAVEL RADIO — Jamie Carreiro

What if it pulled music from the selected year from all over and played it randomly? Or a third button, where you dialled latitude?

Keith Kenniff

(and Miranda July)

Keith Kenniff writes music for movies (among these Miranda July’s “me and You and Everyone we know“)
He is also a major mix-master making sample laws obviously redundant in all their stiffling idiocracy. Listen to this mix and tell me if it wasn’t worth it. Then go and seek out each individual composer and live their bodies of work.

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KALK improvisationer

– impro er godt!

KALK var et godt samarbejde ml. 1999 og 2001 med musikeren og billedkunstneren André Lundquist, der mundede ud i 150 udgivne improvisationer på 10 CD’er og 1 DVD

Teksterne er samlet hér, uofficielt udgivet på forlaget Se, sne!

Et par eksempler:

Dansende Hjerte, 6:46
Dansende Hjerte

Den Krystalklare nat, 8:16
Den Krystalklare Nat

Færgemanden, 9:42
Færgemanden

(tekst: kenneth krabat, klaver: andré lundquist)

Hér er den gamle hjemmeside

Bandcamp-udgivelsen: KALK spiller svenske skovsøer

 

Maybe you are Partched?

(Harry Partch in public)

Harry Partch (June 24, 1901 – September 3, 1974) was an American composer. He was one of the first twentieth-century composers to work extensively and systematically with microtonal scales, writing much of his music for instruments he built himself, tuned in 11-limit just intonation.

Interested in the potential musicality of speech, Partch worked out his first extended scales to notate the inflections of the speaking voice. He built his adapted viola to demonstrate the concept. In London on a grant he met the poet W. B. Yeats with the intention of gaining his permission to write an opera based on his translation of Sophocles’ Oedipus the King. He took another instrument he had built, an adapted guitar, to the meeting, and accompanied himself in one of his own songs on it. Yeats was enthusiastic, saying “a play done entirely in this way, with this wonderful instrument, and with this type of music, might really be sensational”, and giving Partch’s idea his blessing.

Partch set about building more instruments with which to realise his opera. However, his grant money ran out, and, back in the United States, he began to live as a hobo, travelling around on trains and taking casual work where he could find it. He continued in this way for ten years, writing about his experiences in journals that were later collected together under the title Bitter Music.

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the BOOKS i Lille Vega, 7. maj 2011

Det var sgu fedt!


Videobaggrunden, de spillede til, var en slags 4. medlem, der lagde beatet og bestemte hastigheden.

Jeg lærte the BOOKS at kende alene fra musikken, og opdagede dem først på youTube for et års tid siden. Først musik og egne billeder, så billeder, og så forstå, at deres musik er blevet eller altid har været, strengt bundet til en billedflade. Forunderligt, sært… Continue reading “the BOOKS i Lille Vega, 7. maj 2011”