Here some very good but rare experimental musics.
The aim of this page is to share those musics and to find the sources of the unkwown tracks.
The unknown tracks cames from a radio from Paris (France) called 'Epsilonia', produced and presented by a guy called Zaniet'.
I recorded a lot of his emissions but sometimes I missed some track's presentations…
Maybe people comming here are able to give me informations about the unknown tracks…
If you have better music descriptions, good links and so, or if you know ‘unknown’ tracks, you can send me a message
here.
I'll answer you soon :)
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Etant Donnés - Bleu15m04s? - 1993 - STAALPLAATThe cd that closes the trilogy, Bleu, even more serene, allows a light breeze to blow about, saying "everything is here", before you, like some evidence. As was the case with the previous recordings, amplified natural sounds, reduced to their essence, are unveiled and come to life with a heat that is almost more real than reality, as though to this day we had never been present, tuned in to the world, ETANT DONNÉS rediscover the Face Vert and unveil, in broad daylight, the atomic energy contained in every bit of the universe.
Hermes Trismegistus
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Francis Dhomont - Sous le regard d'un soleil noir - Cycle des profondeurs 151m35s - 1979/81 - INA/GRMThis is the first work of a trilogy inspired by psychoanalytic thought. According to Dhomont, this work proposes a meeting of the imagination ('psychology of depths') with the mental images produced by the acousmatic treatment of sounds. Dhomont uses texts by psychiatrist - psychoanalyst Ronald D. Laing (among other authors) to describe the journey of a schizophrenic mind from the 'incarcerated self' to the catatonic state.
The piece is structured in eight sections lasting four to eight minutes each. Dhomont uses three strategies to achieve formal unity: (1) The text is delivered almost without inflections and it is clearly articulated to keep it comprehensible. Little processing is applied. (2) Material from previous sections is recycled achieving an impressive economy of means. (3) The pitch class B natural is employed as a pivot and as a recurring motive throughout the piece.
Dhomont shows his compositional craftsmanship by keeping the pace of the sections masterly balanced. Sound objects are carefully designed to keep sources' identities hidden. When these can be identified, they are meant to fulfill a specific formal function. For example, after the listener has been exposed to several minutes of abstract sound, the sudden appearance of a talking crowd (Inner Citadel, at 1:10) provides a striking contrast. The voice of the narrator is usually kept as a layer separate from the musical material.
After twenty years of its conception, Sous le regard d'un soleil noir starts to feel the weight of time. Some of the sound processing techniques employed may sound a bit artificial today, e.g., the low pass and high pass filtering of the voice. The use of amplitude envelopes on natural time varying sounds eliminates important temporal cues. Thus, the spectral characteristics of these sounds do not fit their temporal structure creating a perceptual paradox. Check, for example, the articulation on the B natural in the section titled 'Implosion.'
Keeping in mind the year of its realization and the concepts underlying its formal plan, Sous le regard d'un soleil noir stands as a landmark of acousmatic composition. The edition by empreintes DIGITALes includes a 52-page English / French booklet containing the text and various comments on the composer and the piece. Definitely worth having!
Damián Keller
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Nurse With Wound - The Little Dipper Minus Two (Echo Poeme Sequence 1)19m31s - 2005 - ICR / Klanggalerie - Edition of 200 copies in plastic sleeve. 150 copies given away to each ticket holder at the VIenna May 2005 gig with personalised ticket.This album shows an all new musical approach for Nurse with Wound. Layers of female vocals are arranged in otherworldly patterns, and it's one of the sweetest, most mysterious soundscapes you've ever heard. It's painted entirely of delicate layers of female vocals in French.
Strange Fortune & Michael J. Salo
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Nouvelles Lectures Cosmopolites - 2ème Période Taoïste52m28s - 1991 - E.D.T.Experimental, ambient, neo-classical, industrial, melancolic…
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Michèle Bokanowski - Tabou16m12s - 1984 - MetamkineTabou est une œuvre intéressante du point de vue du rythme et une attention toute particulière est portée à la définition spatiale de ses éléments. Au nombre de ces derniers, le discours et ses composantes ont été fracturés créant ainsi des formules rythmiques complexes qui se répondent sans arrêt les unes les autres le long d’un plan horizontal.
Certaines des composantes du discours sont incorporées dans un ensemble de sonorités subtiles et répétées, de nature élégiaque et qui apparaissent et disparaissent tour à tour. Interruptions, faux départs et digressions contrastent avec des groupements stables. Cette imprévisibilité rythmique est rendue de façon élégante tout au long de l’enregistrement.
On ressent comme un mauvais pressentiment au sens dramatique du terme. Le suspense culmine mais il n’y a pas de dénouement. Le cadre change lorqu’on approche de la conclusion : c’est un « gros plan » sur un événement et son protagoniste qui convie peut-être l’auditeur à une forme de rituel furtif.
Mara Zibens in CEC, Contact!
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Intersystems - Free Psychedelic Poster Inside1968 - STREAMLINECompletely restored original recordings. A soundtrack accompaniment for the installation that opened at the Mind Excursion Center in Montreal July 8, 1968; installation and soundtrack by INTERSYSTEMS (John Mills-Cockell, Blake Parker, Michael Hayden, Dik Zander). Intersystems were a completely freaked Canadian ensemble from the late 60s, who privately issued this as an LP in 1968. The recordings consists of intense, primitive electronics backings (that approach white noise frequencies) while a narrator (Blake Parker) appears to tell the story of a little plastic boy & girl named Gordie and Renee, as they experience the modern psychedelic life. The story is surrealistically tapped, ultra weirdly detailed and the whole experience is like nothing you've ever heard; totally amazing record.
CORTICAL FOUNDATION
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Fred Frith - Jigsaw (last two parts of "Technology Of Tears")18m51s?On The Technology of Tears, Fred Frith continues his exploration of world dance music he began on Gravity and Speechless, this time supplementing traditional instrumentation with digital technology to generate patterns, pulses and noise. Samples are used throughout, accompanied by horns, sporadic percussion and wordless vocals. The album is a mix of musique concrète, folk music and improvisation.
On the first part of the Technology of Tears suite Frith experiments with Henry Kaiser's newly acquired synclavier, at the time the state-of-the-art sampling and processing technology. On parts two and three of the suite Frith plays mostly «low-grade» instruments with added samples by turntablist Christian Marclay. Jigsaw is a collection of dozens of musical cells, «each recorded separately in increments of between 3 and 12 measures, all at the same tempo, and in the same key». The intention was that the modules could be assembled in any order to create the final piece. The reason for this construction was that Rosalind Newman had requested that many changes be made to the Technology suite; with Jigsaw she could arrange the pieces how she whished. Ironically, she accepted the Frith's demonstration of what was possible as the final piece.
All music described the Technology of Tears suite as «...unrelenting slices of hard-edged sounds over a pulse...», Jigsaw as «... patterns with constantly shifting accents and sub-divisions...», and Propaganda as «...a series of brilliantly evocative soundpieces with electronics, guitar, and sound effects...».
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Unknown #1 - Unknown4m50s? + 30m02s?Electro-acoustic, concrete, experimental, dark, french male and female voices, story…
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Unknown #2 - Unknown7m07s?Experimental electro, psycho, ambient, french female voices…
