Tagged: soundtracks

015

Vox Humana


Imaginative and inspired use of the human voice to make modernist compositions by Leo Kupper on his Digital Voices (POGUS PRODUCTIONS P21060-2). Kupper is from the Belgian school of electro-acoustic composition and founded an important studio there, besides having worked with Henri Pousseur. The voices of Barbara Zanichelli, Anna Maria Kieffer and Nicholas Isherwood are all to the fore in these works, even when electronic music is involved; and while some studio technique is involved to enhance the voices (overdubbing, maybe a little reverb), much of the creative artistry is in their powerful singing, speech, and other vocal gymnastics they perform. Zanichelli turns in a sort of super-mutated birdsong catalogue on ‘Aviformes’, in ways which would make Olivier Messiaen glow with quiet pride. Kieffer sings and murmurs with overdubs of herself on the four parts of ‘Kamana’, along with a rich electro-acoustic backdrop woven by Kupper from a carefully-selected range of sources. ‘Kamana’ seems to be neither speech nor singing – Kieffer’s “vocal expressions” are remarkably fluid and agile. The suites ‘Paroles Sur Lèvres’ and ‘Paroles Sur Langue’ are presented as a connected “diptych”, and in these the electronic music is foregrounded; the human voice elements provide a sort of subliminal church choir effect in among the dramatic electronic and percussion music, creating a near-surreal impression. The intoning basso-profundo cantor on Track 18 is particularly stirring, reminiscent of a Russian Orthodox high priest. No less spiritually moving is ‘Lumière Sans Ombre’, which uses recordings of Slavic liturgical chant and the bass vocals of Isherwood with its burnt sienna-styled electronic music. The vocal-heavy CD is divided in two by the track in the middle, where the composer plays the santur and arrives at a species of warped Persian soundtrack music. The release arrives with a chunky full-colour booklet of notes, images and photos, and Kupper is given ample room to describe his compositional technique and methodology, and while this may give the impression that Digital Voices is a rather process-based work, Kupper’s intentions are in fact to keep the music as “abstract” as possible, and thereby arrive at an international language of spirituality. He is very articulate and passionate about the expressive and emotive possibilities of the human voice, and for those who seek more of it, a related record Ways Of The Voice can be found on this same label.

Dag Rosenqvist is one of the Swedish melancholic types who has provided some memorable moments of wistful sorrow in ambient music form as Jasper TX. Here he is teamed up with Aaron Martin from Topeka, and the duo call themselves From The Mouth Of The Sun on their debut album Woven Tide (EXPERIMEDIA EXPCD021). It’s a mixture of mournful chords and swelling string sections, aligned with somewhat more “atmospheric” sounds to produce pleasing blends. Most of it resembles rather sentimental soundtrack music from a Norwegian arthouse movie I just made up, about a young woman who falls in love with frogs in the snow, but I liked ‘Color Loss’ where the balance between the melodic and the abstract feels just about right.

Errors Of The Human Body (EDITIONS MEGO eMEGO 140) really is a soundtrack album, for a German feature film made by Eron Sheean, but this CD and double LP was composed by the Australian Anthony Pateras. He’s got a small chamber ensemble with him (strings, woodwinds and brass) and a percussion group, although a good deal of the music is based around the piano, organ and electronics work of Pateras. I’ve heard one or two of the insane and energetic electronic records he’s made for this label when teamed up with Robin Fox, but this is nothing like those disjunctive roman candles. Sober and restrained, EOTHB is a studied exploration of different tones and textures, with minimalist arrangements that emphasise mood and atmosphere. It’s like generic soundtrack music for an intellectual thriller, only given a vaguely “experimental” slant. Technically flawless on the surface, and the playing and production have an attractive polished sheen. I found some of the pieces a bit shapeless and unfinished, but perhaps the aim is to leave the listener hanging in a state of perplexed expectancy. Each track almost ends with a virtual question mark.

We received a bundle of items on 16 February 2012, including some vinyl, from the publishing wing of the American independent organisation 23five, but for today here’s an excellent CD by Helmut Schäfer called Thought Provoking III (23FIVE 017). This is the first I heard from Schäfer, and it seems this Austrian chap has a reputation for uncompromising and near-brutal electronic music performances, but this release is uncharacteristically quiet. Eerie, understated, but positively rigid with tension and bristling with excitement, this composition is an unusual performance/installation/composition realised partly in performance in a church, and partly at Helmut’s own home. On this 2006 recording (and incidentally only the third time the work has ever been performed), he’s joined by the violinist Elisabeth Gmeiner and the percussionist Will Guthrie. The first thing to note is we shouldn’t really think of it as a musical performance. It’s mostly process sounds created by organ pipes, said pipes being in the personal possession of Helmut Schäfer and laid on the floor of his house while he was “recuperating” them. When he puts hair dryers at the mouths of the pipes and switches them on, they blow air along the pipes and interesting resonant sounds emerge. He adds live electronic processing to this set-up, and the contributions of Gmeiner and Guthrie are likewise captured within that processing field, such that their strings and percussive blows are also drenched in the resonant atmosphere. According to Guthrie, nobody really had to do very much playing at all – the pipes were doing all the work. It is utterly compelling music, with plenty of incident and action (none of your reduced improv here thanks) and shot through with a core of inner blackness that means Thought Provoking III exudes a heavy vibe of brimstone and brooding. Acoustic industrial music, almost. Other recent experimental types come to my mind who have dabbled with the organ pipes or the church organ, and usually come off the worst, but Schäfer is clearly the sort of fearless larger-then-life personality who wrestles crocodiles just for fun, and he masters the pipes in like manner. I mention the crocodile because this particular set-up reminds me of the music of Yoshi Wada, and while Wada is strong on your basic resonant acoustics and gigantic pipes, his uplifting and joyous music is nowhere near as dark as this particular blackened groaner. Next time I’m having a nightmare about vultures gnawing my liver, I’ll know what music to use as a suitable backdrop. Purchase now to bathe your sinful soul in 24 minutes of breathy doom, and as an added bonus you get ‘Averaging Down 20XX’, a piece by that well-known sonic ogre of noise Zbigniew Karkowski which he made using Thought Provoking III as a sound source. A double dose of very unique and powerful art music.

Flotsam and Jetsam

Cold Cuts

While we’re enjoying something of a Ghédalia Tazartès bonanza, seems the right time to mention this LP Repas Froid (PAN 17) which I’ve had lurking in the Summer 2011 bag for a while now. Unlike the recent Superdisque, Repas Froid does not feature the uncanny singing voice of M. Tazartès but is a tape collage suite which here is presented as two side-long suites on vinyl, although I gather it originally came out in 2009 as a CD on the French label Tanzprocesz, where it was divided into short index points and packed into an all-black cover. At first I thought this astonishing disc had been concocted from lost audio tracks from the cinema of Jean Renoir, but it seems the aural bricolage has been assembled from Tazartès’s personal audio archive. It’s mostly human voices, young and old, male and female, speaking or singing in French and perhaps other languages, cut up or fragmented or simply allowed to spill forth their inner ramblings at length; plus sound effects, bird song, and rare ethnic musics and rhythms gathered from exotic travels I can only dream about. The genius comes not just from the selection of sounds, which are fascinating enough, but from the careful assemblage and editing, and the making of judicious tape loops and repetitions to underscore certain points and not just done for the purpose of creating weird rhythms to mesmerise your mind. The creator’s unexpected juxtapositions and intelligent clashing of elements bring home a particular view of the world. Many voices are cut in at the moment where their emotional pitch is at its highest, starting with the anguished family dispute which opens side one. The old saw “all human life is here” is totally inadequate to express the depths and peculiarities of the human race which this LP presents to us. It’s true that most of the surprises and emotional jolts are on side one, but if side two’s global survey of the magic and beauty of the human singing voice does not provide you with a source of continual amazement, I’ll eat my own hat. Which brings us to the mystery figure on the cover, of which I have a monochrome reproduction on my promo CD, but as usual I will endeavour to locate a full-colour version for your visual stimulation. Another treasure from the small but select Pan label.

Drip-Feed

Driphouse (SPECTRUM SPOOLS SP 008) is another example of overlooked electronic music in the ongoing series from Spectrum Spools. Daren Ho plays synthesizers and electric piano (I think) on a release that originally surfaced as a limited run cassette on Root Strata. Driphouse bubbles up with some attractive old-fashioned sounds and has a pleasant pop-art colourful sheen, but for me the music just feels slack and disorganised; not enough effort was spent on making coherent arrangements, melodies, or musical patterns.

Spill Your Guts

Bloater‘s Radiac (NO LABEL) is a very satisfying chunk of improvised noise made from the electric guitar of Steve Smith and the electronic noise of Ken B, who recorded this in Brooklyn; I’m not sure how I got hold of a copy unless it was sent along with a package from P.A.S. The duo are proud of how they produced this music out of single takes with no overdubs, and the strong impression is that they’re tearing this uglified gloop straight from their own innards, letting it pile up around their ankles in twisted ropes until the local dogs scurry in and scavenge these intestinal leavings with their foaming jaws. No rhythms or structure to these groaning drones, but they are packed with dynamic twists that wrench your body around every 60 seconds, and the black emotion is raw, palpable and direct. These filthy musical eruptions are produced as a specific criticism of Radiac Research Corporation, a radioactive and hazardous waste storage plant that since 1978 has, many claim, been polluting the Williamsburg area and contributing to local incidences of disease. There’s plenty of information about this environmental liability included on the CD insert. No doubt the toxic subject matter accounts for the slippery, slimy and sludgy nature of Bloater’s environmentally-aware music on this release. And the blurry front cover photograph is none too reassuring either, suggesting a massive billow of black sludge in the water, with radial lines either side that could be the timbers of a boat or an X-Ray of a human ribcage clouding over with cancerous darkness. The printed insert is a direct statement on the situation, but the music is more oblique; it’s as if the duo have, for one hour, transformed themselves into cancer victims, out of sympathy.

Duck You Suckers

Here is I think the last of the CDs sent to us by the Italian guitarist Elia Casu in June 2011. For OSTinLOOP (PUSHIN RECORDS PH1005.2), he teams up with the bass player Matteo Muntoni and the drummer Stefano Vacca, and as the Piccolo Ensemble Elettroacustico they perform one original composition and six pieces composed by Ennio Morricone, most if not all of them drawn from his famed Sergio Leone soundtrack scores. As such, this is a far more melodic and structured record than Casu’s other releases of lengthy and sprawling improvisations for abstract guitar, but he still allows himself and the other musicians plenty of room to improvise quite freely on the Morricone themes. When the original Morricone melodies do surface in the middle of these jazzy suites, it’s quite unexpected. It is to this trio’s credit that they aren’t setting out to produce a slavish imitation of the Morricone orchestral sound as directed by Bruno Nicolai, but I feel they’re doing this at the expense of many of the original music’s best qualities. Morricone’s gift for unforgettable tunes, taut arrangements, unusual instrumentation and spine-tingling tension in every chord are overlooked in favour of spacey jams, “tasteful” and rather ordinary sounds, and self-indulgent soloing. The main melody of ‘Giu La Testa’, one of Morricone’s strongest and a personal favourite of mine, is rendered in a particularly ineffectual and perfunctory manner. Adding vocal samples from the films to the mix hasn’t helped restore much excitement either. On the other hand, on its own terms this emerges as pleasant and well-produced melodic jazz music.

When you look at a thing / Let Youth be Served

L.H.O.O.Q.
Three gazeous jazz-inflected items from the Drip Audio label in Canada. Inhabitants from Vancouver are a quartet using guitar, bass, drums and trumpet in many open-ended ways on A Vacant Lot (DA00579) to produce dreamy quasi-cinematic episodes with suggestive titles like ‘What about the water’ and ‘Far Away in Old Words’. Sheldon Zaharko has recorded this band to give a slightly muffled quality to their sound, adding greatly to the puzzled and melancholic tone of this album. JP Carter’s trumpet is singularly affecting here. The striking symbolist cover art by Scott Malin leads one to expect a different sort of record altogether, but this is still very good.

NoMore Shapes from Calgary also make heavy use of brass instruments interacting in interesting ways with guitars and rock rhythms on Creesus Crisis (DA20622), but their approach is much more restless and dynamic than the languorous Inhabitants. One thinks of a slightly off-beat version of Dizzy Gillespie’s bop combos, or even the cool jazz small groups of 1950s Miles. There’s the same intimacy in the recording and crispness in the overall sound. A beguiling cover image offers us a very idiosyncratic take on the theory of human evolution.

Tommy Babin’s Benzene from British Columbia are also a jazzy-type quartet led by the composer / bass player Babin, giving Chad Makela room to shine on his baritone sax. Your Body Is A Prison (DA 00584) is an entire jazz suite in nine separate movements, with a real precision of thought in the way the interleaving sax, electric guitar and percussion lines are managed. Complexity is made to appear almost effortless and never once do these cats sacrifice their swing feeling or emotion on the altar of intellectualism. The underlying theme of the record may be something to do with the liberating qualities of music; an old photo inside the digipak represents a medium floating off his chair in the middle of a big crowd, and perhaps the record is intended to pass on a similar out-of-body experience to the listener.

Now for a terrific double CD set of early 1980s experimentalism. All the pieces on What Does The Brain Have To Do With It (C.I.P. cipcd24) were recorded by Z’EV under the name of uns between 1980 and 1982, in locales in San Francisco and Brixton. Using his own voice, prepared tapes, turntables and a Farfisa organ, Z’EV unleashes all sorts of strange psychic forces in these brilliant nightmarish exercises, which fearlessly walk the tightrope between sprawling diffuseness and a taut precision of ideas. Like many of the best modernist composers, Z’EV knows how to put simple ideas together to generate their own energy, propel themselves forward in the simplest and most direct ways imaginable. The label correctly identifies this work as an exciting combination of sound poetry and voice treatments and claims that it ‘resulted in audio that today is still challenging, unique and engaging.’ I cannot help but agree 100%. Please bend an ear to these abrasive and mesmerising murmurings; your mind will dissolve in a whirlpool of anxious, dark mystery.

Got a couple of small items from Gregory Büttner and his 1000füssler label from over in Hamburg. Dutch experimenter Roel Meelkop may be aligned perhaps with the Asmus Tietchens school of gradual accretions and minimal layerings, and Grey Mass / Grey Matter (1000füssler 014), which exists as two 3-inchers stuck either side of a piece of card, exhibits in its title and its audio content a preoccupation with blank, indefinable abstract shapes and their slow progression, or lack of it, over a terrain of uncertainty. Interestingly, all of this wispy and enigmatic material was derived exclusively from tape recordings with no electronic music or processing whatsoever.

Büttner collaborated with visual artist and sound experimenter Birgit Ulher to produce Tehricks (1000füssler 015). Büttner’s computer sounds were played through an array of small speakers, while Ulher used said speakers as mutes for her trumpet, physically placing them in the bell. This would allow the electronic sounds to resonate in unconventional ways. I like the unorthodoxy of this approach, and the way it suggests a physical interconnectedness between the two players which you may not find in most improvisation set-ups. That said, the results are thin and not very interesting to listen to; something feels rather forced and constipated about it.

Some interesting bleepery and wayward playing from Metamusik, which is the duo of Daniel Carlsson and Johannes Rytzler. On Con7 (EINNICKEN ERA 0918) they present further evidence of their project which since 2005 has been striving to find a way of improvising within the electronica framework, in order to get away from what they perceived as ‘random sound experiments’ and make a return to simple music-making. I’m all for it. At their best moments here, they do manage to escape the straitjacket of the clean lines and grid-systems that might be said to characterise the schools of Cologne and Mille Plateaux since the 1990s. My only reservation is when they attempt to pluck out half-baked melodies on a distorted piano in the middle of a track, only to arrive at some species of airport lounge music thereby.

While we ponder the idea of ‘meta-music’, who better to mount the podium than the Australian technician and whizzoid composer Philip Brophy, whose brain teems with fresh thinking about movie soundtrack music and avant-garde composition, as evidenced by the wide-ranging and powerful ideas in his critical and theoretical writings. We haven’t heard from him for a while at TSP, but I see his records still follow the same distinctive packaging strategy with the blocks of colour, trademarked symbols and logos, and a layered sense of ironic humour underlying all the tiny printed messages and subliminal images. On Filmmusic Vol 2 (SOUND PUNCH RECORDS HURT-13) we have a number of pieces he composed, arranged, played and produced for various movies between 1993 and 2005. From the composer’s detailed notes, there can be no shred of doubt that he engages fully with the demanding process of soundtrack composition, ensuring that his musical ideas and methodologies are completely in sympathy with the meaning of the film, and bring out underlying detail from the particular cinematic passages he is scoring. Yet as a listening experience, I find most of the music here oddly unemotional, in spite of the obvious technical skill that has been poured into its making. Only the four pieces for Only The Brave start to come alive for me – they were produced in late 1993, using keyboards and guitar and samples captured from live musicians. They sizzle and crackle where the later pieces meander and amble.

As to sampling, that method pretty much forms the basis for Brophy’s I Am Piano (HURT-14), which is made up entirely of samples taken from recordings of jazz pianists, and performed live on Brophy’s keyboard sampler. For this, he works within a disciplined conceptual framework based on his detailed knowledge of how the sampler actually works, and produces five lengthy and complicated explorations from the music of Brubeck, Monk, Bill Evans, and others. Along the way he asks us challenging questions about the nature of the way we perceive sound in the contemporary environment, wondering out loud if any of us have ever really heard a piano (as opposed to a convincing piano patch on a synthesizer, perhaps) and what it would mean even if we had. From these ruminations, a startling record emerges; Thelonious is transformed into a species of hyperactive Conlon Nancarrow, while Red Garland has become the master of some sort of insane dancefloor music. ‘Grandiose tactile for ebony/ivory thinking’ is the composer’s own subtitle for this work. I’m not denying for one second that Brophy knows his jazz, but it’s unfortunate that Theolonious Monk’s name is spelled incorrectly on the back cover, as this was something that caused no end of vexation to the man while he was alive.

The Secret Identity of Ennio Morricone

The Sound Projector Radio Show 11th December 2009

With guest Harley Richardson

  1. Ennio Morricone, ‘Studi Per un Finale (Secondo)’ [1969]
    From Happening: Acid Sides of the Maestro, ITALY EL RECORDS ACMEM58 CD (UNKNOWN)
  2. ‘Spazio 1999′ [1976]
  3. ‘Ninna Nanna Per Adulteri’ [1969]
    From Crime and Dissonance, USA IPECAC RECORDINGS IPC66 2 x CD (2005)
  4. ‘Forza G’ (Psichedelico Jazzistico) [1971]
    Available on Psichedelico Jazzistico, UK EL ACMEM 35CD (2004)
  5. ‘Suspense’ [1968]
    From Il Mercenario / Faccia a Faccia, ITALY VIVI MUSICA SOUNDTRACKS VCDS 7018 CD (1995)
  6. ‘Dies Irae Psichedelico’ [1968]
    Available on Escalation, ITALY CAM CSE 053 CD (1992)
  7. ‘Matto, Caldo, Soldi, Morto… Girotondo (Reprise)’ [1968]
    From Molto Mondo Morricone, GERMANY ROYAL EAR FORCE REF 08 CD (2003)
  8. ‘Come un Madrigale’ [1972]
    Available on Quattro Mosche Di Velluto Grigio, ITALY DAGORED RED 139-1 LP (2001)
  9. ‘Squilli Gioiosi’
    From La Fidanzata Del Bersagliere, ITALY COMETA EDIZIONI MUSICALI CMT 1004/12 LP (ND)
  10. ‘Bad Orchestra’ [1968]
    From A Fistful of Sounds, UK BMG 74321 660402 2 X CD (1999)
  11. Peter Tevis, ‘Pastures of Plenty’ [1962]
    Original issue RCA PM45-3115
  12. Ennio Morricone, ‘I Figli Morti’ [1971]
    From Morricone Aromatico, UK SNAPPER MUSIC SMDCD510 2 X CD (2004)
  13. ‘Quemada Secondo’ [1969]
    From Happening: Acid Sides of the Maestro, op cit.
  14. ‘The Hellbenders’ [1967]
    Available on Spaghetti Westerns Volume Two, USA DRG RECORDS 32909 2 x CD (1995)
  15. ‘Intermezzino Pop’ [1970]
    From Molto Mondo Morricone, op cit.
  16. Rita Monico, ‘Thrilling’ [1965]
    Available on Canto Morricone Vol. 1 – The 60s, GERMANY BEAR FAMILY BCD 16244 AH CD (1998)
  17. Ennio Morricone, ‘Barnaba’s Bamba’ [1965]
    From A Gun for Ringo / The Return of Ringo / Death Rides A Horse, UK SNAPPER MUSIC SMDCD510 CD (2004)
  18. Lisa Gastoni, ‘Una Stanza Vuota’ [1966]
    Available on Canto Morricone Vol. 1 – The 60s, op cit.
  19. Ennio Morricone, ‘Un Uomo Da Rispettare (Titoli)’ (excerpt) [1973]
    From Crime and Dissonance, op cit.
  20. ‘Seguita’ [1971]
    From Gli Occhi Freddi Della Paura, ITALY DAGORED RED 119-1 LP (2000)
  21. ‘Passegiata Notturna (movie version)’ [1971]
    From Il Gatto a Nove Code, ITALY DAGORED RED 111-1 LP (2000)
  22. ‘L’Attessa / The Wait’ [1965]
    From A Gun for Ringo / The Return of Ringo / Death Rides A Horse, op cit.
  23. ‘Esplicitamente Sospeso’ [1973]
    Available on Il Serpente, ITALY GDM MUSIC CD CLUB 7072 CD (2009)
  24. ‘Come Maddalena’ (excerpt) [1971]
    From More Mondo Morricone Revisited, GERMANY COLOSSEUM CST 34.8058 CD (1996)

Yma Sumac RIP (TSP radio 07/11/08)

    Yma Sumac:

  1. ‘Xtabay’ (1950)
    From Voice of the Xtabay and other Exotic Delights, UK REV-OLA CREV034CD (1995)
  2. ‘Kon-Tiki’ (1955)
    From Legend of The Sun Virgin, USA CAPITOL RECORDS SM-299 LP
  3. ‘Five Bottles Mambo’ (1956)
    From Mambo!, FRANCE CAPITOL 4832692 CD (1995)
  4. ‘Jivaro’ (1957)
    From Legend of The Jivaro, FRANCE CAPITOL RECORDS 1552981 LP (1984)
  5. ‘Indian Carnival’
    From Voice of the Xtabay and other Exotic Delights, op cit.
  6. ‘Cumbe Majita’ (1953)
    From Inca Taqui – Chants of the Incans, FRANCE CAPITOL RECORDS W 684 LP (1985)
  7. ‘Goomba Boomba’
    From Mambo!, op cit.
  8. ‘Kuyawa’
    From Legend of The Sun Virgin, op cit.
  9. ‘Karibe Taci’
    From Voice of the Xtabay and other Exotic Delights, op cit.
  10. ‘Whip Dance’
    From Legend of The Jivaro, op cit.
  11. Les Baxter:

  12. ‘Sunken City’
    From Jewels of the Sea, original issue CAPITOL RECORDS T-1537 (1960)
  13. ‘Quiet Village’
    From Les Baxter’s Original Quiet Village, USA CAPITOL RECORDS ST 1846 LP (1963)
  14. ‘Busy Port’
    From The Exotic Moods of Les Baxter, USA CAPITOL RECORDS 7243 8 37025 2 7 2 x CD (1996)
  15. ‘Sophisticated Savage’
    From Ritual of the Savage, USA CAPITOL RECORDS T288 LP (1952)
  16. ‘Stars in the Sand’
    From Jewels of the Sea, op cit.
  17. Yma Sumac, ‘Remember’
    From Miracles, UK LONDON RECORDS SHU 8431 LP (1972)
  18. The Residents, ‘Spotted Pinto Bean’ (1972)
    From Meet The Residents, EU TORSO RECORDS TORSO CD 416 (1988)
  19. Yma Sumac, ‘Medicine Man’ From Miracles, op cit.
  20. ‘La Molina’ (1959)
    From Fuego del Ande, HOLLAND CAPITOL RECORDS T 1169 LP
  21. ‘Forest Creatures’
    From Inca Taqui, op cit.
  22. Neal Hefti:

  23. ‘Oh Dad, Poor Dad (Main Title)’
  24. ‘The Odd Couple (Main Title)’
  25. ‘Honorable Batman’
  26. ‘Cartoon Capers’
  27. ‘Bash Brannigan’
  28. Yma Sumac, ‘Xtabay (Boy and Girl Version)’
    From Voice of the Xtabay and other Exotic Delights, op cit.

The Sound Projector radio show,
originally broadcast on Resonance 104.4 FM

May we recommend:
Yma Sumac Official website
Yma Sumac Fan Pages

Popol Vuh (TSP radio show 25/08/06)

Guest presenter Harley Richardson

  1. Popol Vuh, ‘Wehe Khorazin’
    From Fitzcarraldo, GERMANY SPV RECORDINGS SPV 085-70202 CD (reissue 2005; original release 1982)
  2. ‘Oh Wie Nah Ist Der Weg Hinab’
    From Letzte Tage – Letzte Nachte, FRANCE SPALAX MUSIC 14 213 CD (reissue 1992; original release 1976)
  3. ‘Morgengruss II’ (extract)
    From Aguirre, FRANCE SPALAX MUSIC 14974 (reissue 1996; original release 1975)
  4. ‘Morning Sun’
    From Nosferatu the Vampyre OST, GERMANY SPV RECORDINGS SPV 085-70192 CD (reissue 2005; original release 1978)
  5. ‘Aguirre I’ (extract)
    From Aguirre, op cit
  6. ‘Kha-White Structures’ (extract)
    From In der Gärten Pharaos, GERMANY SPV RECORDINGS SPV 085-70112 CD (bonus track on reissue 2005)
  7. ‘Affenstunde’ (extract)
    From Affenstunde, GERMANY SPV RECORDINGS SPV 085-70102 CD (reissue 2005; original release 1970)
  8. ‘In der Gärten Pharaos’ (extract)
    From In der Gärten Pharaos, GERMANY SPV RECORDINGS SPV 085-70112 CD (reissue 2005; original release 1971)
  9. ‘Affenstunde’ (extract)
    From Affenstunde, op cit.
  10. ‘Vuh’
    From In der Gärten Pharaos, op cit.
  11. ‘Einsjäger and Siebenjäger’
    From Einsjäger and Siebenjäger, GERMANY SPV RECORDINGS SPV 085-70152 CD (reissue 2005; original release 1974)
  12. ‘Spirit of Peace (part 3)’
    From Aguirre, op cit (bonus track on reissue)
  13. ‘Im Garten der Gemeinschaft’
    From Fitzcarraldo, op cit.
  14. ‘Agnus Dei’ (extract)
    From Aguirre, op cit.
  15. ‘Letzte Tage – Letzte Nachte’
    From Letzte Tage – Letzte Nachte, op cit.
  16. ‘Brüder des Schattens – Söhne des Lichts’ (fade)
    From Brüder des Schattens – Söhne des Lichts, GERMANY SPV RECORDINGS SPV 70212 CD (reissue 2005; original release 1978)

The Sound Projector radio show,
originally broadcast on Resonance 104.4 FM

Avant / art cinema soundtracks (TSP radio show 15/04/05)

  1. Albert Ayler, Don Cherry, John Tchicai et al, ‘A Y’ (fade) (1964)
    From New York Eye and Ear Control, ITALY BASE RECORD ESP 1016 LP
  2. Irmin Schmidt, ‘Morderlied’
    From Filmmusik Vol 3 & 4, GERMANY SPOON RECORDS SPOON 018/19 2 x LP (1983)
  3. Gong with Daevid Allen, ‘Blues for Findlay’ (1972)
    From Continental Circus, FRANCE MANTRA 089/642089 CD (1994)
  4. Terry Riley, ‘Happy Ending’ (fade)
    From Happy Ending. Music composed for the film “Les Yeux Fermes”, FRANCE WEA FILIPACCHI MUSIC 46 125 LP (1972)
  5. Sun City Girls, ‘Expendable City’
    From Juggernaut (Original Soundtrack), USA ABDUCTION ABDT 002 LP (ND)
  6. Gene Moore, (Untitled)
    From Carnival Of Souls, USA BIRDMAN BMR 012 CD (1998)
  7. Edward Artemyev, ‘Solaris: Ocean’
    From Solaris, The Mirror, Stalker, TORSO KINO LP 50001 2 x LP (1990)
  8. Bob Cobbing, Jeff Keen et al, ‘Marvo Movie Natter’ (1968)
    From OU 34-35, ITALY ALGA MARGHEN plana-OU 15vocson045.3 CD (2002)
  9. David Bowie, ‘Crystal Japan’
    From Bowie Rare, GERMANY RCA RECORDS PL 89001 LP (1983)
  10. Brian Eno, ‘There is Nobody’
    From Music For Films, UK POLYDOR SUPER 2310 623 LP (1978)
  11. Teiji Ito, ‘The Very Eye of Night’ (fade) (1952)
    From Music For Films and Theater, USA WHAT NEXT RECORDINGS WN0020 CD (1997)
  12. Text Of Light, ’091502 Anthology Film Archives’ (fade)
    From Text Of Light, USA STARLIGHT FURNITURE *24 CD (2004)

The Sound Projector radio show,
originally broadcast on Resonance 104.4 FM

The music of Michael Nyman (TSP radio show 18/03/05)

…with a Lol Coxhill interlude

  1. The Michael Nyman Band, ‘Bird Anthem’
  2. ‘Images were introduced’
  3. ‘In Re Don Giovanni’
  4. ‘Water Dances 1: Stroking’
  5. ‘Initial Treat / Secondary Treat’
  6. ‘Angelfish Decay’
  7. ‘Trysting Fields’
  8. ‘Time Lapse’
  9. ‘Great Death Game’
  10. ‘Swan Rot’
  11. ‘Wheelbarrow Walk’
  12. ‘L’Escargot’
  13. ‘Endgame’
  14. Lol Coxhill, ‘Synalto’
    From Fleas in Custard, UNITED KINGDOM CAROLINE RECORDS C1515 VINYL LP (1975)
  15. The Michael Nyman Band, ‘Disposition of the Linen’
    ‘Song III’
  16. ‘A Watery Death’
  17. ‘Song I’

1, 3, 5 from Michael Nyman, UNITED KINGDOM PIANO RECORDS / SHEET RECORDS SHEET-1 VINYL LP (1982)
2, 4 from The Kiss and Other Movements, UNITED KINGDOM EDITIONS EG EGED 40 (1985)
6, 8, 10, 12 from A Zed and Two Noughts, UNITED KINGDOM THAT’S ENTERTAINMENT RECORDS TER1106 VINYL LP (1985)
7, 9, 11, 13 from Drowning by Numbers, UNITED KINGDOM VIRGIN RECORDS LTD VE23 VINYL LP (1988)
15, 17 from The Draughtsman’s Contract, UNITED KINGDOM CHARISMA CAS 1158 (1982)
16, 18 from And Do They Do / Zoo Caprices, UNITED KINGDOM TER LIMITED TER1123 VINYL LP (1986)

The Sound Projector radio show,
originally broadcast on Resonance 104.4 FM

Marc Baines Travelogue (TSP radio show 03/12/04)

  1. John Cage and Kenneth Patchen, The City Wears A Slouch Hat (1942) excerpt
    USA CORTICAL FOUNDATION ORGAN OF CORTI 14 CD
  2. Caetano Veloso, ‘London London’
    From The Definitive Collection, WRASSE WRASS092 CD (2003)
  3. Fred Astaire, ‘Flying Down To Rio’
    From A Portrait of Fred Astaire, GALLLERIE GALE 414 CD (1997)
  4. Tav Falco’s Panther Burns, ‘Vampire From Havana’
    From Life Sentence, FRANCE NEW ROSE 422136 CD (1991)
  5. Jack Nitzsche, ‘Puerto Vallarta’ (1963)
    From The Lonely Surfer, USA COLLECTOR’S CHOICE CCM 195 2 CD
  6. Jack Nitzsche, ‘Lower California’
    From Three Piece Suite: The Reprise Recordings 1971-1973, USA RHINO HANDMADE RHM2 7787 3 x CD (2003)
  7. Mama Cass, ‘California Earthquake’
    From Dream a Little Dream, USA DUNHILL RECORDS DS-50040 LP (1968)
  8. X, ‘Los Angeles’ (1982)
    From Los Angeles, USA RHINO R2 74370 CD
  9. Charles Laughton, ‘Ruby’
    From Night Of The Hunter, GERMANY BEAR FAMILY BCD 16263 AJ CD (1998)
  10. The Viscounts, ‘Harlem Nocturne’
    From Various Artists, Swing for a Crime, FRANCE GMG / VENUS IN FURS 75031 LP (1988)
  11. The Shangri-Las, ‘Train From Kansas City’
    From The Best Of The Shanri-Las, MERCURY 314 512 371-2 CD (1996)
  12. Winston Holmes & Charlie Turner, ‘Kansas City Call’
    From Cornshucker’s Frolic vol. 1, USA YAZOO 2045 CD (1999)
  13. Jerry Lawler, ‘Memphis Tennesee’
    From It Came From Memphis Vol 2, USA BIRDMAN RECORDS BMR 036 CD (2001)
  14. Butthole Surfers, ‘Wichita Cathedral’
    From A Brown Reason for Living, UK ALTERNATIVE TENTACLES RECORDS VIRUS 32 LP (1983)
  15. The Mad Daddy, ‘Immaculate Conception Record Hop / RCA Dehumid-d-d-d-difier’
    From Wavy Gravy, USA NORTON CED-300 CD (2003)
  16. Lloyd Briscoe, ‘Mr. Cleveland’
    From Man About Ska-Town, UK KING EDWARDS KELP 04 LP (ND)
  17. Harry Partch, ‘The Letter’
    From The Harry Partch Collection vol.2, USA CRI CD 752 CD (1997)
  18. The Kinks, ‘Oklahoma USA’ (1971)
    From Muswell Hillbillies, USA KONK / VELVEL 63467-79719-2 CD (1998)
  19. The Bonzo Dog Band, ‘Keynsham’
    From Cornology vol.2, UK EMI 0777 7 99597 2 3 CD (1992)
  20. The Honeybus, ‘Blackpool Rock’ (1968)
    From She Flies Like A Bird, UK CASTLE CMEDD 533 CD
  21. Hedy West, ‘Sheffield Apprentice’
    From Ballads, UK TOPIC 12T163 LP (1967)
  22. Nino Rota, ‘Aria De Roma (overture)’
    From Fellini Roma OST, CD ST311
  23. Lee Hazlewood, ‘No Train To Stockholm’
    From Cowboy In Sweden, USA SMELLS LIKE RECORDS SLR 030-12 LP (1999)
  24. Archie Shepp, ‘There Is A Balm In Gilead’ (1970)
    From Blasé, CHARLY SNAF 534 CD
  25. The Residents, ‘Constantinople’ (1978)
    From Duck Stab / Buster & Glen, EUROPE RALPH INDIGO 21272 2 x 3″ CD
  26. The Modern Lovers, ‘Fly Into The Mystery’
    (unreleased)

The Sound Projector radio show,
originally broadcast on Resonance 104.4 FM