Univrs. (RASTER NOTON R-N 133) by Alva Noto is a record which I would like to think celebrates the joys of typesetting – Univers is everyone’s favourite font – but in fact it’s a follow-on from a previous release Unitxt, and has something do with the properties of a universal language. Given Carsten Nicolai’s very digital predilections, you can bet his conception of language and universality has little to do with quaint notions such as Esperanto, The United Nations or international détente (how very 20th century, my dear), and instead features the microchip and the modem as the mandatory basis for all communications henceforth. As is customary, Alva Noto does a son et lumière version of this record which also involves computers, digital images being manipulated by audio signals and projected on a screen. One digital language mutating another, as it were; I seem to recall this particular trope was meat and drink to Farmers Manual and Hecker over ten years ago, but in some cases artists who followed this path of interchangeable digital information ended up with endless streams of gibberish on their records. Not so our Alva Noto, whose impeccable logic always produces clean and rigourous music, like a diagram for club music, expressed as unadorned thumps, clicks and burrs.
I have a lot of time for Hate-Male, the English creator of very extreme and very loud noise music, even when faced with the rather unsubtle and near-crass imagery that he sometimes uses. The cover for Total Fucking Hate (DOGBARKSSOME DISCS DBSD18), with its lurid pulp paperback gouache image of a fearsome moll in a red dress with an armful of murderous hardware and an expression you could use to sear a ribeye steak, is certainly quite – erm – memorable. The music is pretty hard to recover from, too. On these 11 tracks, one experiences the familiar sensations of tumult and catastrophe normally reserved for earthquakes and collapsing buildings, but in between the now-commonplace harsh noise bursts Lawrence Conquest is making strong use of the human voice, sometimes sampled from records or used as the voice of a mechanical man barking out unintelligible commands, such as on the very effective and nightmarish ‘Live In Vegas – White Night #1′. Guest player Jennifer Wallis adds vocals to the album, maybe here and on ‘Live In Vegas – White Night #2′, but if so her tones have been subjected to some ultra-insane processing method that renders her quite inhuman. Powerful stuff. We also have the lengthy rhythm and echo attacks, such as ‘Under the tent of their rough black wings’ and ‘Taste The Poison’, which are both very heavy going – the noise-listener’s equivalent to a 40-mile forced march in the desert with full military kit. Throughout, Hate-Male is at all times wild and full-on, but also very thoughtful in executing his absurd and crazy dynamics; he uses the digital delay like a paintbox, and he can manipulate tones to ensure that certain abstracted curls and shrieks are foregrounded, so they really stand out sharply from the background fuzz. Among noise-men, many of whom are content to push their pedals to the floor and keep them there, this is a rare talent.
Get Lost (EDITIONS MEGO 123) is the title of a Mark McGuire collection showcasing the solo guitar and synth work of this young American player, fairly well-known by now as a member of Emeralds, the electronic drone-ambient trio from Cleveland. Not especially experimental, this one; a highly melodic release produced by carefully crafted overdubs of stringed and keyboard instruments. The Mike Oldfield of the present time, perhaps, although McGuire doesn’t have quite the same gift for a memorable tune.
On same label as McGuire but a guitarist of quite another stamp is Bill Orcutt, the Harry Pussy guitarist whose return to the performing and recording arena is a well-told tale by now. In February we raved about his A New Way To Pay Old Debts record for this label which compiled some of his earlier private press records, and now here’s How The Thing Sings (EDITIONS MEGO 128), seven new home recordings made in San Francisco. Titles like ‘Heaven is Close to me Now’ and ‘No True Vine’ may put you in mind of Rev Gary Davis, but the comparisons with early pre-war blues have been done to death by now, and in any case they won’t stand when faced with this onslaught of biting, aggressive free guitar improvisation. Orcutt’s technique is to play like a condemned man, packing as many notes as possible into each musical moment, using lots of shorthand and abbreviations, compressing the vital information into taut and urgent phrases before they wheel him away to fry in the hotseat. Plenty of hammering on, string-pulling, unexpected flurries of strumming which stop equally unexpectedly; it’s almost an alarming listen. Lovers of Derek Bailey’s music will find much to admire in these fragmented, tuneless clusters, but even Bailey stopped short of putting so much raw emotion and sheer volumes of angst into the steel strings as Orcutt does. And if you like to share another man’s pain, you’ll love his vocalising too – unrestrained yawping with no attempt to form recognisable words, adding to the sense of near-demonic possession. Essential record, 34 minutes of electrifying acoustic playing that instantly forms a cage of barbed razor-wire around your head.
On Deus Ignotus (EPIPHANY 06), English folk singer Andrew King moves away from his recent sea-faring themes in song and makes a return to what he knows best, that is highly personal interpretations of gloomy old ballads and songs sung against industrial-music style backdrops with tape loops, drums and drones. I can’t resist any record which is front-loaded with two all-time great ballads, ‘The Three Ravens’, a song about carrion birds who find a knight’s dead body in the field, and ‘The Wife of Usher’s Well’, a supernatural winter-time song where a mother’s drowned sons come to visit her for one night. For the latter, King’s sepulchral and quavering tones are aptly suited to the grisly and unsettling content, and he transforms that ravens ballad into a sort of inverted battle-anthem with martial drums and declamatory chanting. Other traditional ballad material in like vein on the record includes ‘Edward’, ‘Sir Hugh’ and ‘Lord Lovell’, but the material that represents something of a departure from the norm is that inspired by texts from the gospel and church singing; this includes ‘In Upper Room’ and ‘Judas’, the former King’s interpretation of a poem-novel from the 1950s by David Jones called The Anathemata. I need to research these properly, as they look fascinating. For all these astonishingly innovative and unusual works, King is joined by the musicians Hunter Barr of Knifeladder, industrial music veteran John Murphy, and Maria Vellanz, who adds some devilish violin work. The entire record is an intoxicating mix of industrial music, traditional folk, religious song and psalmery, and interminable harmonium drones with doomy drumming, and with its mixed content and wide variety of singing styles, it refuses any sort of easy categorisation. As usual, it’s all tied together by King’s concise annotations, citing his sources and inspirations, drawn from music, literature, and history; 24 pages of information, libretto and images, set in tiny 8pt type, for you to digest and enjoy. King’s music is an acquired taste (like the voice of Peter Bellamy), but it’s hard to overlook the depth of his scholarship and the originality of his ideas. I support him totally, and this – which apparently took over nine years to realise – looks to be one of his best works.
“Music is one of the few things that gives me hope that we are not a doomed species … and that we can do something together besides hunt like a pack of wolves.”
“English folk music is full of great tunes, and it has the strangest songs I’ve heard. Songs seem to have a mystical intent where events are unfolding just as they should, for some pre-ordained and unavoidable reason, but the listener can’t grasp what that reason is.”
Other notable peaks this issue:
A new compilation album for download! The second in a series of unique TSP-branded internet-only music releases. Each issue of the magazine has a sticker with your download voucher. Visit the website link as indicated to download English Wildlife, a new compilation of UK underground music featuring Adam Lygo, Bela Emerson with John Wills, E.M.B., dsic, annalogue, Tea & Toast Band, Susan Matthews, 55 blues, Hari Hardman, Lanterns and Jupiterdogs. This offer only available to purchasers of TSP 18.
Vinyl Viands. “The six tracks, bearing evocative titles which seem to have been derived from common activities on the factory floor rather than the cloistered chambers of the music school, all blend seamlessly together to make an exciting and dynamic racket spread over both sides of this pulsating purple-vinyl pressing.” And another 12 pages in like manner…
Tremendous visual art from three new contributors. guido huebner, who is also Das Synthetische Mischgewebe, provides numerous examples of dark and disturbing ‘insomniac drawings’. “In b/w they look rather fearfull without the cokurs? Changes a lot.”Andrew Hannah provides some unsettling collages. Also drawings from Zven Balslev, Danish artist, printmaker, LP cover artist and operator of the bizarre SMITTEKILDE record label; anla courtis, the Argentinean primitive-futurist; and Rik Rawling with some dazzling Luciferian linework.
Unframed Recordings: read about these impressive marginal art-gallery releases with beautiful letterpress covers, plus a mini-interview with Gill Arno. “Perhaps we all share an understanding of music as a component of a larger sensorial universe lying behind the bare musical fact.”
Michel Henritzi has released many new records of his mournful guitar work. We heard them all. “Each performed note and sound, however grotesque it may be in shape, is uttered with deliberation and stands out starkly in a backdrop of near-vacancy.”
Adam Lygo has been making surreal guitar noise records for over ten years. We heard some of them. “The music is completely abstract noise, but largely not too violent in tone; these tunes send you mad in other ways, cutting off the air supply to the brain, hammering down your resistance with insistent repeats.”
Book reviews: Jennifer Hor casts an eye over a new survey of Australian experimental music, while Harley Richardson dissects a book about members of The Fall and questions the meaning of radical politics in music made since the 1960s. “Look beyond the scope of this book to today’s emptied out politics, and we can see that this anti-democratic sentiment now informs much of public policy and what passes for radical thinking…”
Regular review sections include: BLACK METAL, FIELD RECORDINGS, ATOMS OF PURE NOISE, TAPE MASCHINES MAKEN KLANG, IN THE ART GALLERY, ACOUSTIC AND FOLK, WEIRD AND NIGHTMARISH, USA UNDERGROUND, STONER AND DOOM, THE DRONING ONES, THE CRACKLING ESTHER, GUITAR MUSIC, THE PHANTOM OF LIBERTY, SONGS, and THE LAMENTING OCTOPUS.
The magazine whose pages glow
with hidden symbols!
Your Sound Projector team this ish:
Ed Pinsent, Jennifer Hor, Aaron Robertson, Richard Rees Jones, Rik Rawling and Harley Richardson.
And here’s a full alphabetical list of artists whose records you will find in the pages of The Sound Projector 18th. Regular readers of the blog will once again notice that some of these records have already been noted in our ‘new arrivals’ section throughout 2008 and 2009, but rest assured that the pages of the magazine contain completely new (and more detailed) reviews.
55Blues, 87 Central, A Middle Sex, Acid Mothers Temple and The Melting Paraiso U.F.O., The Advisory Circle, AER, Ilyas Ahmed, Tetuzi Akiyama, Ala Muerte, Altar Of Flies, Altar of Plagues, Alva Noto, Maryanne Amacher, Oren Ambarchi, Angel, Anika, Animus, Anwech, Apse, Artificial Memory Trace, Astral Social Club, Astro Black, Atavist, Felicia Atkinson, ATOM TM, Ättestupa, Autopsia
Bad Statistics, Derek Bailey, Aidan Baker, Bardoseneticcube, Baseline, Sean Baxter, Mick Beck, John Berndt, Tony Bevan, Black Boned Angel, Black Flowers, Black Lodge Ensemble, Black To Comm, Mark Blitzstein, Blue Sabbath Black Cheer, Ursula Bogner, Bernard Bonnier, Borg, Ned Bouhalassa, Matthew Bourne, Johann Bourquenez, BRAAZ, Martin Brandlmayr, Broken Arm Trio, Brown Wing Overdrive, Bronnt Industries Kapital, Brown Sierra, David Brown, Burning Star Core, Barry Burns, Paul Burwell, John Butcher
Lucia Capece, Cardboard Sax, Chapters, Xavier Charles, Loren Chasse, Rhys Chatham, Budhaditya Chattopadhyay, Antoine Chessex, Circle of Ouroborus, CjC, Climax Golden Twins, Cobra//Group, Dennis Cooper, Stephen Cornford, Alan Courtis, Noah Creshevsky
Werner Dafeldecker, Darsombra, Das Syntetische Mischgewebe, Dead Letters Spell Out Dead Words, Deadwood, Del Sol String Quartet, Jacques Demierre, Diatribes, Arrington de Dionyso, Peter Doggett, Dredd Foole, Dried Up Corpse, dsic
E.M.B., Echtra, John Edwards, Bruce Eisenbeil, él-g, Embers, Emeralds, Bela Emerson, Empire Auriga, English Heretic, Lawrence English, Vincent Epplay, Ergo Phizmiz
Ferran Fages, Fall of the Grey-Winged One, JW Farquhar, Fauna, Fen, Christian Fennesz, Nestor Figueras, Flaskavsae, Food Brain, Forerunners, Chris Forsyth, Josephine Foster, Robin Fox, Joe Frawley, Reinhold Friedl, Erik Friedlander, Bruce Friedman
Bernhard Gál, Miguel A. Garcia, Richard Garet, Carlos Giffoni, Ginger Leigh, The Glass Bees, The Golden Sores, Good Noise Bad Noise, Grand Erector, Grasslung, Hildur Gudnadóttir, The Guilty C.
Keiji Haino, Tom Hamilton, Hans Grüsel’s Krankenkabinet, Harappian Night Recordings, Charles Hayward, Hear, Hearts Of Palm, Hecker, Tim Hecker, Michel Henritzi, Jean-Luc Hérelle, Paul Hession, Hobo Sonn, Hollowbody, Human Being, Human Greed
ibitsu, Idea Fire Company, If, Bwana, Ignatz, Masayuki Imanishi, Invisible Bees, Shin’ichi Isohata, ist
Jack Shirt, Garnett James, Jasper TX, Philip Jeck, The Joe Frawley Ensemble, Seth Josel, Josetxo Grieta, Nana April Jun, Junko, Jupiterdogs
Kacheltisch, Jason Kahn, Zbigniew Karkowski, Greg Kelley, Eli Keszler, Kikuri, Andrew King, Kinit Her, Andrey Kiritchencko, Jacob Kirkegaard, Kobi, Korperschwache, KRK, KTL
L’Acephale, Lanterns, Elodie Lauten, Lazarus Blackstar, Legendary Pink Dots, Thomas Lehn, Lemur, Lesson Lesson Lessen Relearn, Leverton Fox, Levitts, Light Shall Prevail, Liturgy, Locrian, Loosers, Francisco López, Adam Lygo
Pierre Yves Macé, Yoshio Machida, The Magic I.D., Maher Shalal Hash Baz, Male, Malkuth, Charles Matthews, McCloud, Dean McPhee, Menace Ruine, Daniel Menche, Sergio Merce, Merzbow, Meti Bhuvah, Ian Middleton, MIJ, Mikroknytes, Rob Millis, Tabata Mitsuru, Mogwai, Gen Ken Montgomery, Moon, Aaron Moore, MSBR, Muarena Helena, mudboy, Wolfgang Müller, Gordon Mumma, Brendan Murray, Music For One, Musica Elettronica Viva, Mute Socialite
Nadja, The Naked Future, Naked On The Vague, Takefumi Naoshima, Necro Deathmort, Nekrasov, Nekros Manteia, The New Blockaders, Carsten Nicolai, BJ Nilsen, Steve Noble, Nole Pastique, The North Sea, Michael Northam, Noteherder, Noveller, NTHnthsthSTH, Victor Nubla
O.S.T., Jim O’Rourke, Ocean Sounds, Masahiko Okura, Olekranon, The One Ensemble Orchestra, Orfeo 5, Fabio Orsi, Our Love Will Destroy The World, Owl Xounds
Daniel Padden, Charlemagne Palestine, Agnès Palier, Panopticon, Paranoid Foundation, Evan Parker, Anthony Pateras, PBK, People Like Us, Perlonex, Pål Asle Pettersen, Phantom Limb & Earth’s Hypnagogia, Phosphor, Pimmon, Richard Pinhas, Larry Polansky, Andrea Polli, Erica Pomerance, Gert-Jan Prins,
Procer Veneficus, Prurient, Pulse Emitter, Pyha
Richard Ramirez, Rapoon, Raxinasky, Rehab, Peter Rehberg, Rice Corpse, Arnaud Riviére, RMSonce, David Rosenboom, Sebastien Roux, Rozenhall, Ruby Ruby Ruby, Mathieu Ruhlmann, Russian Tsarlag
Safe, Satori, Scarcity Of Tanks, Marcus
Schmickler, Conrad Schnitzler, Tom James Scott, Sewer Election, Shelf Life, Matt Shoemaker, Dave Simpson, Sissy Spacek, Skozey Fetisch, The Skull Defekts, Skullflower, Alex Mein Smith, Snake Figures Arkestra, snd, Alan Sondheim, Starving Weirdos, Paddy Steer, Joel Stern, Stilluppsteya, Strotter Inst., Fredy Studer, Taku Sugimoto, Sujo, Uncle Woody Sullender, Sum Of R, Sun Ra, Ronnie Sundin, The Surly Bonds of Earth, Per Svensson
Mika Vainio, Velnias, Mark Vernon, Franck Vigroux, Violet, Vomir, Vopat
Yoshi Wada, Nancy Wallace, Zach Wallace, Wasteland Jazz Unit, John Watermann, Chris Watson, Weavels, Benjamin Wetherill, Simon Whetham, Wicked King Wicker, Wicked Witch, John Wiese, Alan Wilkinson, Julian Williams, Jana Winderen, Jozef Van Wissem, Wold, Wolves in the Throne Room, Wondrous Horse, World Sanguine Report
Xela, Xivic, XX Committee
Ed Yazijian, Amy Yoshida, Otomo Yoshihide, Mitsuhiro Yoshimura, Nate Young
Zanzibar Snails, Jason Zeh, Zeitkratzer, John Zorn
Nole Plastique‘s Escaperhead (NEXSOUND NSP03) arrived from the Ukraine on the reliable Nexsound label. Nole Plastique are a Russian electro-acoustic duo of Roman Kutnov (the founder member) and Aleksei Belousov (a recent collaborator), who have been generating ‘romantic noise’ since 2004. However on this, their first full-length release, they’re apparently experimenting with song-form and a ‘very raw’ production technique. Should be interesting to hear how these two aims match up on a song like ‘Tired fingers, waste your glory’. I’m often wasting my glory with my tired fingers, if you know what I mean. Curious listeners may wish to locate a couple of net releases by this band, housed in the Internet Archive’s Audio section here and here.
Josephine Foster sings This Coming Gladness (BO WEAVIL RECORDINGS WEAVIL 31CD), a CD of ten songs from this Colorado-born singer and string player, on which she’s joined by the guitar of Victor Herrero and the drums of Alex Nielson. I’ve never heard anything by this performer who started life in Born Heller and has since pursued a solo path, sometimes accompanied by The Supposed. It’ll be interesting to hear her personal update on Appalachian ballads here, but she’s also drawn inspiration from gospel music and the blues. Apparently her somewhat mannered soprano voice takes a few unprepared listeners by surprise. Quite a cover painting…it makes her look like Joni Mitchell as rendered by John Bratby.
Andrew King is an English folk singer who has done some amazing things during his sporadic recording career. An intelligent and well-informed scholar of English folk song (its sources, its singers, its history and its recordings), he has cultivated certain long-vanished mannerisms in his own voice to express some sort of continuity with the past, and show solidarity with those singers whom he admires. In June he sent me Thalassocracy (EPIPHANY 05), which he describes as ‘my new, rather “difficult” album with Brown Sierra’. As the maritime cover will clue you in, all 13 songs are sea-faring ballads such as ‘Banks of Green Willow’ or ‘The Dark Eyed Sailor’, mixed with sea shanties and broadsides based on historical events, such as ‘Nelson’s Death’ or ‘HMS Advance’. (The title is a little-used Greek word which approximates to ‘the rule of the sea’). I’m expecting some pretty heart-rending tragedy when this is spun, and I’ve no doubt that Andrew King’s unadorned singing will do justice to the task; in traditional folk song, all the emotion should be within the content, not the performance. It’ll also be interesting to hear what Brown Sierra, who I normally associate with live electronics, contribute to this collection of traditional music. NB: this self-released record is only available from Andrew King via PayPal (price £10, plus £1 for non-UK customers); email him at firstname.lastname@example.org
Benjamin Wetherill‘s CD Laura (RED DEER CLUB RDC 014) is another release in the ‘folk idiom’. This Leeds-born guitarist and singer has been performing for ten years and was recently noticed by the songwriter from A Hawk and A Hacksaw; through that contact, this record was enabled, and was recorded outside of Budapest, with the help of the Hun Hangar Ensemble.
The Mute Socialite CD arrived from America. More Popular than Presidents and Generals (DEPHINE KNORMAL MUSIK DKM09) features the drumming and guitar work of madcap US enthusiast and polymath Moe! Staiano, whose solo percussion record was noted in a previous issue; from what I recall he’s extremely energetic and athletic, but his music didn’t quite measure up to all the bravado and boasting. I’m prepared to give his music another chance though, as Liz Allbee plays trumpet on this, and I have enjoyed her very weird solo record for Rescipiscent Resipiscent and her work with Mark Gergis. This five piece, also featuring Ava Mendoz on guitar, have been performing around the West Coast area since 2006, and their debut CD was released by Mr Staiano on his own imprint.
Toshimaru Nakamura and English (ie Joe Foster and Bonnie Jones) made One Day (ERSTWHILE 053). The back cover features an intriguing drawing (by Erin Womack) of an old man holding a large cabbage and poking the ground with a green stick. The ground, presumably dry and dusty, is cracking open at an alarming rate. Yet he appears largely unmoved by the strange resultant phenomenon. Foster is a Portland-born improviser who has lived in Korea the last six years; conversely, Bonnie Jones was born in Korea but was brought up in New Jersey. Presumably her circuit boards will make the perfect instrument to accompany Toshi’s no-input mixing board feedback work.
FIVE big interviews, including Charlemagne Palestine on the occasion of his visit to the UK in 1998; jazz composer Simon H Fell, on his 40th birthday; plus Chris Watson, T:un[k] Systems and Merzbow. Remaining electrifying contents = over 100 CDs and records reviewed. Too much to read, in fact. 94 pages to warm your brain through the long Winter months.
List of Contents:
1. In the Art Gallery
Edgardo Canton. Tim Hodgkinson. Arne Nordheim. Pauline Oliveros. Electropleinair sound diary.
2. Atoms of Pure Noise
Mnemonists. Merzbow. Neil Campbell. Vomit Lunches. Monostat 3. Rebirth of Fool comp. Peeled Hearts Paste.
3. The Crackling Ether: electronic missives
Variations 2 compilation. Pan Sonic and Alan Vega. Transient V Resident.
Water & Architecture. Anton Nikkil. Daniel Menche. Tone Rec. S.E.T.I.
3A. The Crackling Ether: field recordings
Annea Lockwood. Chris Watson.
4. Cut ‘N’ Paste: collage / edit music
Ryoji Ikeda. David Weinstein. Pure Water Construction. Carl Stone.
5. The Discurator’s Den
Henry Cow. Datblygu. Alternahunk. John Clyde-Evans. Swans. The Orchestre Murphy. Doug Snyder and Bob Thompson. Eugene Chadbourne. Sun City Girls. Birchville Cat Motel. To Live and Shave in LA. Fit For Kings comp. Sonic Youth. The Land of Nod. The Monsoon Bassoon. Peter Blegvad. rhBand.
6. Free Jazz
Sun Ra. Miles Davis remixed. The Eremite label.
7. Funky Organic Chutzpah: modern R’n’B
Lauryn Hill. Sleepy’s Theme. Charli Baltimore. Cleopatra. Brandy. Monica. All Saints. En Vogue.
8. Shades of Darkness / Holy Minimalists
Tony Conrad. Terry Riley. Eliane Radigue.
9. Japan [Your] Ears [are] Maximum Distress
Boredoms. Cassiber with Ground-Zero. Hijohkaidan.
11. A Sense of the Monolithic
Foxtrot. Die Krupps. Der Blutarsch. Crisis. Nocturnal Emissions. New New Zealand music. Death In June.
12. The Mossbed of Improvisation is Kosmische
La! Neu?. The Pyramid label. Gomorrha. Gila. Electric Sandwich. Agitation Free.
13. The Phantom of Liberty: improv
Sweethearts in a Drugstore. Derek Bailey with Min Tanaka. Chris Burn’s Ensemble. Phil Minton. Minton, Butcher, Hirt. Lol Coxhill and Veryan Weston. Kev Hopper. Steve Lacy. Phil Durrant.
14. Skipload of Tapes
Knurl. Cock ESP / Emil Hagstrom. Brian Ruryk. Inca Eyeball. Julian Bradley and Neil Campbell. Ashtray Navigations. -outhern acific+. How to Kick Yourself. The Kzimpos and Hoogwater.
INTERVIEWS IN REAL TIME
T:un[k] Systems [3, 1]
London-based sound sculptor Peter Hodgkinson explains his tone-generators, the science-art dialectic, and avant-garde cinema.
Charlemagne Palestine 
Legendary New York musician of the ‘Minimalist’ school, talks in a church about the organ, death, drones and singing in the synagogue.
Simon H Fell [3, 6, 13]
The UK’s most approachable polymath of jazz, composition, improvising and beyond, writes intelligently about his work and the perils of a small label. With an overview of key records from his discography.
Chris Watson [3A]
Former Cabaret Voltaire player discusses his field recordings and views on wildlife, the environment and noise pollution.
Merzbow [2, 9]
Miniaturist interview with the modern Surrealist Masami Akita, no longer using the term Noise for his work. Typeset in the ‘Dada’ style.
Reissue of Health and Efficiency prompts a backwards glance.
Three experiments relating to the hypothetical use of parabolic sound mirrors as offensive weapons, compiled by J Banks.
Book review Lunar Notes by Zoot Horn Rollo
Folk Music: a rambling discourse The Wicker Man; English folk; Andrew King.
Tokyo’s Psychedelic improv invasion. Caroliner Rainbow. Question Mark and the Mysterians.
A brace of compilation CDs bearing his production hallmarks.