I’m in the process of uploading my podcasts to the Internet Archive. Nearly 60 past shows are now available. I’ll try and upload everything I have as time permits. They’re going up in a very random order.
For each page on the Internet Archive, I’ll include a link back to the playlist post here. In some cases, I might even remember to embed an Internet Archive music player on the post too.
If you have a request for a particular podcast you’d like to bump to the top of list, let me know – send me a direct message on Twitter @soundprojector.
From 2017 onwards, my podcast playlists will contain embedded links to the ResFM Mixcloud account.
A few caveats:
- I don’t have an mp3 file for every show I ever broadcast.
- For a while I relied on the Resonance FM podcasts being uploaded to Soundcloud. Unfortunately the entire Resonance FM account was deleted (everything was lost). I don’t have copies of these shows, so there will be a big gap in 2014.
- Some published playlists on this site may still have duff residual information – e.g. links to a podcast that now won’t work, or an embedded Soundcloud player that won’t work.
The first eight issues of The Sound Projector are now available on the Internet Archive. We recently decided to move away from Scribd, as we discovered they now require users to subscribe to a service that used to be freely available. The Internet Archive offers a reasonably nifty page-turner on the screen, and a variety of downloadable formats. The digitised version of TSP#7 is quite a recent production. We should be getting the remaining issues available in due course.
Please note: the names of all contributors to these issues have been added to the Internet Archive ‘contributor’ field in the metadata. If you are reading this and you were a contributor, please get in touch if you have any objections to having your work republished this way. This includes writers and visual artists.
As a tribute to Alan Vega, I’m appending my review of a Suicide gig from 1998, originally published in TSP 4th Issue. Illustration by Harley Richardson.
Suicide Live @ The Garage, Friday 6th March 1998
LONG FUCKING OVERDUE The need for aural blastage of my dusty brain that is…four sell out gigs in London of which this was but a one. It’s been 20 years since the first Suicide LP and even that was rumoured to have caught them a little too late. What price this appearance? even given Rev’s creditable solo one-hander at Disobey some two years before. Aye, your sceptical 37 year-old geek reviewer in the audience was all prepared for a dismal showing but instead had his balls rocked off mightily. The duo walked on arm in arm, a sexual ambivalent prelude to the night of pure libido, a cabaret styled Amsterdam sex show that shows up virtually any stupid UK electro ripoff duo for the vapid Chelsea poseurs that they were – Marc Almond and his non-stop erotic cabaret, preening their inadequate two-inch willies, authentic queers Erasure, Depeche Mode, Cabaret Voltaire… Alan Vega and Marty Rev give us the full anal penetration works with their mighty throbbing 18-inch erections. Chain-smoking Vega struts about the stage like a veteran of Pigalle, vibrating with pure charisma, stage presence, and raw attiitude, spitting out four-letter words. Rev unleashes pure electric mayhem of unacceptable decibalage of such utter primitivism that makes the first Suicide LP seem cluttered, overly conceptual. Even if you had no ears, you’da been transfixed by their moves; you could have drunk in their pure STYLE like so much 80 proof vodka. And they were clearly enjoying every minute of it, so what more do you want?
What the fuck it all proves – I don’t even care. Yr London drum’n’bass dance crowd enjoyed every minute, one in five in the audience bopping like yoyos to the extreme volume and red flashing lights like any other night at the Ministry (visually and aurally, it was like being plunged into an open beating heart). Yr specky intellectuals had one thoughtful finger surgically attached to their lower lips hours before the gig and adopted a striking pose at the front row. A knot of die-hard mosh pitters brought throbbing life to the floor for a 96 Tears-Sister Ray encore. All hands on deck are thus equally satisfied, like any able crew members of the US Navy – the only boys who know what’s good when it comes to a bit of nice, clean round-eye.
Weirdly, I’d have been satisfied with the 40-minutes of intense minimal torture that Panasonic inflicted on us earlier in the evening…an experience that provoked much the same reactions as above, only less so. Part of their shtick is that Panasonic don’t project any humanity through body language, facial expressions, or any other organic functions associated with a living being; but the machines speak for them, as does a screen projected with a visual readout of their diabolical de-programmed, real-time machinations. Hateful and infused with an evil, lotus-eating bliss that only the strongest stomachs can handle.
Personally I’m glad my companions dragged me down to the front of the stage so I could miss not a single detail in the eye of the storm, even the perverts licking up flecks of Alan Vega’s sweat from the stage before a stage hand could draw his black safety curtain across; but Paul Smith thoughtfully delivered a benison to that frantic faithful one. This gig willl stay with me for some time, believers. Signing off at 1.05 am … get a good night’s sleep now.
Stuart Marshall: I have to say that listening to your Bowie show last week was a very emotional experience. When you started crying at the end my girlfriend started crying as well, which forced me into the same emotional plunge as well. Quite cathartic really. I honestly haven’t been so upset over a musician’s death since Charlie Gocher. Needless to say, we’ve been hooked on Blackstar, though thanks to you ‘I’m Deranged’ is her favourite overall.
Ed Pinsent: Thanks Stuart, I really appreciate your simpatico feelings. I think Bowie’s work will only deepen in its impact and meaning as time goes on, regardless of how we may try and over-simplify it or generalise it.
When I say that, I’m thinking of one “tribute” slot I saw on the telly. Midge Ure was speaking. He recited the “Ziggy on TOTP singing Starman in 1972” moment as if he were reading from scripture. All the “accepted” tropes were there, a Mojo Reader’s 39 Articles. Broad-based assumptions that everyone who saw this was having the same experience.
I’m protective of “my” Bowie. I resent the way that personal experience is being made into a general, shared experience, which is why I hated the Velvet Goldmine movie. It’s amazing to me how quickly this way of thinking has become fossilised into a shopping list of how we apprehend the cultural value of Bowie.
But it’s also so superficial. At one level, in saying “it was like an alien had beamed into our living room over the TV set”, Midge Ure was merely restating the lyrics and theme of the song itself, only in a much more banal fashion.
I’d contrast your simpatico message with what a relative said to me, when he couldn’t apparently grasp why I was even upset about it. His arguments seemed to be…
- Bowie may have meant something once, but he doesn’t any more, so why make a fuss now?
- I’m just nostalgic for my own record-buying youth…there’s nothing special about that.
- The release date of Blackstar was cynically engineered to generate maximum sales.
- Why didn’t I also do a tribute radio show for Glenn Frey?
There are so many things wrong with the above that I don’t know where to begin.
Stuart Marshall: Apart from the Economist’s obituary and a DJ set he did on the Beeb in 1979, I pretty much skipped all of the reminiscing for the reason you point out: ‘My Bowie’ – so true. He gave himself to everyone to discover their own interpretation, yet all we hear are the same, strung-out tropes about reinventing himself etc. Surely if his identity changes were so revolutionary, they’d have had greater individual resonance than the recital of such clichés? I’m dreading hearing what comes up when Ron Mael’s time comes… distant may it be!
Podcast attached to this post is a two-minute excerpt from my Bowie tribute show.
Not The Sound Projector Radio Show
Slow and Quiet podcast for December
500th blog post for the year 2015
Duration 2 hours and 30 mins
Click title links for review and picture
- Dasha, ‘Micro Universe’
- Utu Lautturi, ‘Pelkkää Pihkaa’
- Hafdís Bjarnadóttir, ‘Westfjords’
From Sounds of Iceland
- Spunk, (Track 4)
From Spunk & Joëlle Léandre Live in Molde
- 23Threads, ‘Animal in the Circle’
From Conspicuous Unobstructed Path
- Ralf Meinz, Karolina Ossowska, Mikolaj Palosz, ‘La sonata in sol minore al terzo suono, bars 1-3’
From Play Giuseppe Tartini
- André Stordeur, ‘C.C. 101.296’
From Complete Analog and Digital Electronic Works 1978-2000
- Quiet Music Ensemble, Alvin Lucier’s ‘Shadow Lines’
From The Mysteries Beyond Matter
- The Pitch, ‘Xenon’ (fade)
From Xenon & Argon
- Paco Rossique, ‘Parallel Roles’
From Collages & Dispersions
- Dave Clarkson, ‘Longing and Loneliness’
From Music for Lighthouses
- Architeuthis Walks On Land, ‘The Assayers’
From The Surveyors
- Nørstebø / Strid / De Heney, ‘Wien 1’ (fade)
From Oslo Wien
- Phil Julian and Ben Owen, ‘A Return’
From Between Landing
Podcast ends 2:30:29
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New comic book by Ed Pinsent available now! Windy Wilberforce Meets Sun Ra. A 28-pp comic which proposes Windy Wilberforce performing as a free jazz saxophonist in New York in the early 1960s, making a critically-acclaimed album called Provenance for the Prestige label. But commercial success eludes him, and by a chain of coincidence he enters the orbit of the mysterious Sun Ra.
In the alternative-reality fantasy story that follows, Windy becomes the curator of Alton Abraham’s library, wears an elaborate space-age costume created by June Tyson, plays with The Arkestra, travels in outer space, meets John Cage and Chris Cutler, visits the Egyptian pyramids, and works on a telecope that can see backwards in time. And more…
The story is constructed as a series of one-page, six-panel episodes, some of them expanding into full-page spreads.
Written and drawn June-August 2015 and published early September 2015. This is my first all-new story of this length for a long time.
Available now from www.lulu.com priced £5.00. Click the logo below to purchase same.