Category Archives: no wave show

nw 2013-08-04: Anthony Moore

Rock music series

Anthony Moore born 65 years ago, in 1948. Because in this show I present the following musics.

Anthony Moore ‎– Pieces From The Cloudland Ballroom


Two great missing links in the incredible history of Uwe Nettlebeck’s productions at Wumme, Germany. Slapp Happy founder Moore recorded PIECES a month after Faust cut their debut LP (fall 1971) and SECRETS a month before their second (with SH’s debut SORT OF following in May ’72 and Tony Conrad/Faust in October). Indeed, Faust’s Werner “Zappa” Diermaier and Gunther Wusthoff both contribute to PIECES, which is not a krautrock or artrock LP but a bona fide minimal classic.
Pieces From the Cloudland Ballroom belongs to his “composer” side instead of his “songwriter” one (as with the group Slapp Happy). The album is comprised of one 20-minute piece and two more of approximately ten minutes each.
Side one is “Jam Jem Jim Jom Jum” which as five singers chanting that mantra while Moore plays these odd, repeating chords underneath. More’s idea was to create musical palindromes, i.e. pieces that come full-circle, creating a mirror image of themselves that can be “read” in both directions. Palindromes are structures that can be read forwards or backwards such as ‘Satan oscillate my metallic sonataS’ or ‘?Was It a car or a cat I saW?’. This is a palindrome that takes nearly 20 minutes to complete based on the odd numbers 3, 5, 7, 9, 11. Imagine a waltz, that is 3/4 time, superimposed at the same tempo over a piece in 5/4. The lowest common denominator of 3 and 5 is 15. This means that on the 16th beat, two pieces will re-synchronise, completing a circle of departing and approaching, a mirror image. To these two, add the further patterns of 7, 9 & 11 beats. “Jam Jem Jim Jom Jum” has five vocal parts in 3/4, 5/4, 7/4, 9/4, and 11/4, all at the same tempo. Each singer sings a different syllable (“jam,” “jem,” etc.), accentuating his/her first beat. All five will come back to the same “first beat” (and thus back to their starting point) after 3 x 5 x 7 x 9 x 11 beats (the lowest common denominator), and that takes about 20 minutes.
The first piece on side 2, “Ma Na H-uile Ni a Shaoileas Iad”, sounds uncannily like Richard Young’s ADVENT with its quiet, delicate two-note piano motif and piercing bowed metal stings, while “A.B.C.D. Gol’fish” throws together harpsichords and percussion, it could almost pass for the trance rock classic that Moondog never got around to recording.

1. Anthony Moore ‎– Pieces From The Cloudland Ballroom (2002, CD, Blueprint (Voiceprint) ‎– BP327CD)
1. Jam Jem Jim Jom Jum
2. Mu Na H-Uile Ni A Shaoileas
3. A.B.C.D. Gol’Fish (1967)

Anthony Moore ‎– Secrets Of The Blue Bag


The follow-up, Secrets Of The Blue Bag, is three pieces for strings and voice all based on the same 5 note melody. It’s more “classical” than its predecessor. Pieces From The Cloudland Ballroom is the superior LP, but both are essential if you have any interest in the genre, period, or principals involved.
The one hundred and twenty different combinations of the first five notes of the diatonic scale are combined and recombined. It is a homage to the coding/decoding engines of early computer history and their tireless labour. In 1971, when the piece was written, I had just come across Raymond Lully and his rotating encryption device (Lullian Circle) which consisted of moveable concentric rings, a mechanical system for the treatment of information developed in the late 13th century. This inspired the idea of Secrets of the Blue Bag. Incidentally, the Blue Bag was an early Chinese expression for the sky, or universe.”

2. Anthony Moore ‎– Secrets Of The Blue Bag (2002, CD, Blueprint (Voiceprint) ‎– BP328CD)
1. Secrets Of The Blue Bag 1
2. Secrets Of The Blue Bag 2


Slapp Happy was a German/English avant-pop group consisting of Anthony Moore (keyboards), Peter Blegvad (guitar) andDagmar Krause (vocals). The band formed in Germany in 1972. The band members moved to England in 1974 where they merged with Henry Cow, but the merger ended soon afterwards and Slapp Happy split up. Slapp Happy’s sound was characterised by Dagmar Krause’s unique vocal style.

What is Sapp Happy?

The word, ’Slapp Happy’, is derived from Greek term meaning ’punch drunk’; but in current popular usage many different ideas are involved in the ways we employ the term.
dagmary-2Sometimes we mean by ’Slapp Happy’ an attitude towards certain activities, as when one says ’I approve of your Slapp Happy way of doing business’ or ’I am not voting for her because I do not approve of her Slapp Happiness.’
Again, we talk about being ’Slapp Happy’ when we mean taking a long-term, detached view of certain immediate problems. When one is disappointed, we suggest to him that he ought to be more ’Slapp Happy’.
In still another sense we think of Slapp Happy as an evaluation or interpretation of what is important or meaningful in life.
This usage may indicate by the story of 2 men who were drinking greek wine together.
One of them held his glass to the light, scrutinized (serutinized) it thoughtfully, & then observed, ’life is like a glass of Retsina’.
His companion looked up at the glass, turned to his friend & asked, ’Why is life like a glass of Retsina’?
’How should I know’, he answered, ’I’m not Slapp Happy’.
(Retsina is a Greek white (or rosé) resinated wine.)

Slapp Happy ‎– Acnalbasac Noom


The history of this album is a bit complicated. It has had numerous releases on many different labels, with different track listings/mixes, etc. “Acnalbasac Noom” was Slapp Happy’s second LP, was originally recorded in Germany in 1973 with members of Faust, and engineered by Kurt Grauner, in Faust’s legendary Wumme Studio. Like the first it was produced by Faust’s svengali Uwe Nettelbeck.
Originally titled Casablanca Moon, it was recorded for Polydor in 1973, but Slapp Happy’s label , Polydor, refused to commercially release the album, so the band moved to England, and signed with Richard Branson’s blossoming Virgin label. Their first Virgin’s album released in 1974 and was an entirely re-recorded version of the same material, although it was entitled Slapp Happy when released. (N.B: The Virgin 1974 LP version omits the track “Charlie ‘N Charlie”, and a track entitled “Haiku” is included.) To compound the confusion, the Virgin version was retitled Casablanca Moon when it was reissued on CD in 1993 (on a single-disc release that also included their 1974 Virgin album Desperate Straights). The original mix was finally released in 1980 as Acnalbasac Noom, on Recommended Records. Acnalbasac Noom is the original, 1973 recording of the Casablanca Moon material, and not a mere archival curiosity; it’s quite worthy on its own merits. “Acnalbasac Noom” is not an easy album to categorize, but its an amazing work of original compositions by Peter Blegvad, Anthony Moore, and Dagmar Krause. The group’s songwriting had improved since their debut, and Krause’s German chanteuse-influenced vocals found catchier, more rock-oriented settings. The arrangements, production, playing, and vocals by Dagmar Krause are superb. Krause’s vocals have a unique beauty. Her alto voice is well suited to the songs on “Acnalbasac Noom”, and her vocals contribute immensely to the quality of this album. The songs are whimsical, catchy, and very clever. The lyrics are witty and oddball without being pretentious. Tracks like “Mr. Rainbow” recall Yoko Ono’searly-’70s song-oriented material, with an important difference: Krause’s vocals are much better than Ono’s, while just as distinctive. “The Secret,” with its almost girl-group-worthy catchiness, and “Charlie ‘n Charlie,” with its nifty surfish guitar riff, even sound like potential commercial singles.
This edition includes four bonus tracks.

3. Slapp Happy ‎– Acnalbasac Noom (1990, CD, ReR Megacorp ‎– ReR SHCD)
1. Casablanca Moon
3. Mr Rainbow
8. Dawn
11. Slow Moon’s Rose

Peter Blegvad ‎– Alcohol


One-sided 7″, side B has etching of grapes.
Alcohol was recorded as a demo for the Slapp Happy/Henry Cow album Desperate Straights in 1974 by Peter Blegvad and Anthony Moore.

4. Peter Blegvad ‎– Alcohol (1981, Vinyl 7″, Single Sided, Recommended Records ‎– RR 5.75)
A. Alcohol

Slapp Happy ‎– Casablanca Moon / Desperate Straights


Shortly after recording ‘Unrest’, Henry Cow entered into a merger with label mates Slapp Happy. Slapp Happy comprised Dagmar, their German vocalist who would later win great acclaim for interpretations of Brecht, Peter Blegvad, American born but raised and educated in England, played guitar and wrote most of the lyrics and would later contribute the unique strip cartoon Leviathan to the Independent, and Anthony Moore, English pianist who wrote most of the music and who would later work with the post Waters Pink Floyd. Together they produced a kind of skewed pop awash with literary and artistic references. They had recorded 2 albums with Faust, the second of which was re-recorded with session players for Virgin. 2 albums would come from this merger; Desperate Straights (Slapp Happy with Henry Cow) and In Praise Of Learning (Henry Cow with Slapp Happy).
Desperate Straights recorded at Virgin Records’ Manor studios in November 1974 and it was released in March 1975. It was the first of the joint ventures to be recorded, and the union of Henry Cow’s avant rock with Slapp Happy’s warped pop was both challenging and accessible. Almost all of the album comprises Slapp Happy composed material. The majority of the songs were built around a piano/bass/drums accompaniment, with other instruments adding extra colour where needed. Tim Hodgkinson’s clarinet is deployed as an instrumental foil to Dagmar’s unique voice to superb effect, particularly on the opening song Some Questions About Hats. Elsewhere, The Owl features Dagmar accompanied solely by horns and Europa has some superb percussion from Pierre Moerlen – all the arrangements are highly original and well thought out. Peter Blegvad takes the lead vocal on Strayed and does a neat pastiche of Lou Reed’s drawl. Excerpt From The Messiah is a snippet of Handel as though played by a 70s glam metal band like Slade. There are 2 instrumentals, the title track which is a short, off kilter foxtrot, and the closing track, a lengthy piano/clarinet piece which features the 2 instruments playing scales very slowly. Caucasian Lullaby isn’t bad at all, and would have been a superb addition to one of Eno’s Obscure label releases, but it is somewhat out of keeping with the rest of the album.

5. Slapp Happy ‎– Casablanca Moon / Desperate Straights (1993, Virgin ‎– CDOVD 441)
12. Some Questions About Hats
15. Bad Alchemy
19. Apes In Capes

Dagmar Krause, Anthony Moore, Peter Blegvad ‎– Camera


An unusual one-off project by three musicians usually known as Slapp Happ. ‘Camera’ was originally written as an opera for television, was recorded in 1991 and first screened in 1993. However it was not released on CD until 2000.
Slapp Happy fans may be in for a shock if they haven’t paid careful attention to the liners before slapping on this CD. The first impression is that either Peter Blegvad or Anthony Moore has gone through quite a vocal transformation — into an operatic tenor, no less. Well, of course it’s neither Blegvad nor Moore, but rather tenor John Harris in the role of Forecast, a tax collector. Forecast is one of several key characters in Camera, a television opera, with an occasionally lush orchestral score by Moore, a libretto by Blegvad, and a major performance from Dagmar Krause as the character Melusina. Camera is a magical domain where the laws of nature and society do not apply, and where Melusina resides in utter separation from the world.
Forecast is sent to Camera by Hardwicke (Nicole Tibbels), head of the tax office, to collect back taxes from Melusina. However, Forecast is transformed by his visit to Melusina’s world and becomes sympathetic to her, which leads to fateful and mysterious turns of events when the cold-hearted Taft (Quentin Hayes) is dispatched by Hardwicke to Camera, charged with succeeding where Forecast failed. There are intriguing concepts and philosophical underpinnings to this work — for example, did Melusina create Camera or vice versa — and the sometimes compelling music of this modern opera is well-suited to the dramatic exposition as it unfolds (most, but not all, of the libretto is printed in the CD booklet). Also, as expected, Dagmar is tremendous; she has proven her wide range as a vocalist in both avant-garde and pop recordings, and now excels in this operatic role. With a richer, deeper, and fuller voice than during her earlier days and, as Melusina, not asked to adopt any over-the-top mannerisms, Dagmar walks a line that would seem to appeal to both pop and art music listeners. That’s probably not true for the other singers, however, who possess undeniable skill but whose traditional, emotive operatic style may strike Slapp Happy fans as a bit stilted and uptight. In short, Dagmar can walk that line but, on the evidence here, Harris and the others cannot. It would seem better suited to join Dagmar in giving life to Blegvad’s libretto. As for the libretto, Blegvad has found words that are usually poetic and only occasionally awkward, and his existential metaphors are consistently thought-provoking. But perhaps Moore presents the greatest surprise, particularly for those only aware of his work as a solo artist and member of Slapp Happy (including the collaborations withHenry Cow). Moore has, however, studied Indian classical music, composed film soundtracks, and also experimented with tape and sound manipulation during his adventurous and multi-faceted musical career. With Camera, he demonstrates compositional mastery with an extended-form thematic work performed by five singers, the Balanescu Quartet, bassist Chris Laurence, and woodwind and brass sections, with subtle use of experimental sound textures. Moore composed the music in 1991 and Camera was broadcast on Channel 4 in the U.K.; of course, the visual component is entirely missing from this CD.
It’s not really an effort by Slapp Happy the band, which should be apparent as soon as John Harris opens his mouth soon after Camera starts spinning.

6. Dagmar Krause, Anthony Moore, Peter Blegvad ‎– Camera (2000, CD, Blueprint (Voiceprint) ‎– BP332CD)

1. Who, How, Where, When, Why?
2. That Morning
3. Please Step Quickly In (When You Enter This Room / Thirty Years Ago)
4. Your Exemption Isn’t Recognised (For Thirty Years)
5. I Have Given Up Trying To Decide (A Delectable Breeze)
6. I’ve Come Into A Country
7. It’s Been Night In Here For Years*

You can listen here (beginnings from 0:39):

no wave 2013-08-04: part1
no wave 2013-08-04: part2
no wave 2013-08-04: part3
no wave 2013-08-04: part4

nw 2013-07-28 Jose Vicente Asuar

Electronic- / electroacoustic music series

José Vicente Asuar born 80 years ago, on 20th July1933. Because in this show I present the following musics.

Jose Vicente Asuar ‎– Obra Electroacústica 3 x CD Box


In mid 2005, when Pueblo Nuevo Netlabel started their activities, opening their platform to Electroacoustic Music was nothing but a wish of their founders. Five years later, their catalog presents several landmarks in that respect, becoming also a meeting place for musicians and sound artists from different generations.
It is José Vicente Asuar who offers now his important and pioneer work to us – an enormous and unreachable corpus for these notes to comment upon. However, it is an excellent chance to refer to these endless acts of justice we have been privileged to witness from time to time.
Each time some Chilean-music-related material is reissued, feelings of joy and asking-for-more surface: most of these pieces were scattered into long ago out-of-print LPs and cassettes. And that also involves a challenge: becoming active re-searchers of our sound memoire and stop waiting for others to do it, talking to our past and our future via these sounds – true and faithful pictures of our identity.
This carefully crafted compilation contains an unvaluable piece of history, comprising the complete electroacoustic works of the chilean master and pioneer – José Vicente Asuar

1. Variaciones Espectrales (1959): Tape music.
Used as soundtrack for “Germinal” ballet piece. Choreography by Germán Silva. Premiered in May 1964 by Ballet de Arte Moderno. Teatro Municipal. Santiago, 1964.
2. Preludio La Noche (1961): Tape music.
Composed at Technische Horschule Studio, Karlsruhe, Germany. Used as soundtrack for “Germinal” ballet piece. Choreography by Germán Silva. Premiered in May 1964 by Ballet de Arte Moderno. Teatro Municipal. Santiago, 1964.
3. Serenata para mi voz y sonidos sinusoidales (1961): Tape music.
Unfinished piece, labeled “out-of-catalog” by the composer. Composed at Technische Horschule Studio, Karlsruhe, Germany.
4. Estudio Aleatorio (1961): Tape music.
Unfinished piece, labeled “out-of-catalog” by the composer. Composed at Technische Horschule Studio, Karlsruhe, Germany.
5. Catedral (1968): Tape music. Original version in 4-track tape.
Part of “Imagen de Caracas” (multimedia work commissioned by Consejo Municipal de Caracas, Venezuela, celebrating 400th years of the city foundation).
6. Divertimento (1967): Tape music.
First Prize at International Electronic and Computer Music Contest, sponsored by Darthmouth Arts Council, USA. Part of “Imagen de Caracas”.
7. Caleidoscopio (1968): Tape music. Original version in 4-track tape.
Part of “Imagen de Caracas”.
8. La Noche II (1967): Tape music.

1. José Vicente Asuar ‎– Obra Electroacústica (2011, 3xCD, Pueblo Nuevo ‎– PN_CD 08) CD1 1. Variaciones Espectrales (1959)
2. Preludio La Noche (1961)
6. Divertimento (1967)
7. Caleidoscopio (1968)
8. La Noche II (1967)


1. Guararia Repano (1968): Tape music.
Winner of 3rd. Concours International de Musique Electroacoustique de Bourges (1975).
2. Buffalo ’71 (1971): Tape music.
Composed at New York University Electronic Music Studio.
3. Affaires des Oiseaux (1976): Tape music.
Commissioned by Groupe de Musique Electroacoustique de Bourges GMEB.
4. Amanecer (1977): Tape music.
Composed at nowadays Institut für Sprache und Kommunikation at Technische Universität Berlin, Germany.
5. Elegía (1982): Tape music.

2. José Vicente Asuar ‎– Obra Electroacústica (2011, 3xCD, Pueblo Nuevo ‎– PN_CD 08) CD2 1. Guararia Repano (1968)
3. Affaires des oiseaux (1976)
5. Elegía (1982)


1. Diálogos (1985): Tape music.
Premiered in October 1985 at Festival Anacrusa. Sala Goethe. Santiago, Chile.
2. En el Jardín (1985): Tape music.
3. En el Infinito (1987): Tape music.
4. Erase una vez (1989): Tape music.
5. Cuatro Piezas Instrumentales (1989): Tape music.

3. José Vicente Asuar ‎– Obra Electroacústica (2011, 3xCD, Pueblo Nuevo ‎– PN_CD 08) CD3 5. Cuatro Piezas Instrumentales (1989)

You can listen  here (beginning from 0:00):

no wave 2013-07-28: part1
no wave 2013-07-28: part2
no wave 2013-07-28: part3
no wave 2013-07-28: part4

no wave 2013-07-14: 阿部薫 (Kaoru Abe)

Improvising music series

阿部薫 (Kaoru Abe) died 35 years ago, on 9th September 1978. Because in this show I present the following musics

Derek Bailey ‎– Duo & Trio Improvisation


This 1978 recording finds the estimable British guitarist in the musical company of several members of the cutting edge of the Japanese jazz avant-garde of the time. These musicians, including Kaoru Abe (who died later that year), the late bassist Motoharu Yoshizawa, and the trumpeter Toshinori Kondo match Bailey.
The duo between Bailey and Kondo, wielding two trumpets simultaneously, is a small gem of concise free improv, while the trio with Abe and saxophonist Mototeru Takagi screams along with abandon. The session includes a couple of duos between Kondo and Takagi. One is a brief piece with each on multiple horns, sounding very much as though intended in tribute to Rahsaan Roland Kirk, who had died a few months prior to this recording. The other is a very attractive, considered performance beginning with watery lines that escalate into cascading torrents of sound. When the trio that opened the disc (Bailey, Yoshizawa, and drummer Toshi Tsuchitori) returns for a finale, the listener has the sense of having witnessed an intriguing roundtable of ideas, a meeting of cultures that turned out to not be very different. Duo & Trio Improvisations isn’t an earthshaking entry in Bailey‘s lengthy discography, but a fine and absorbing listen, worthy of notice.

1. Derek Bailey ‎– Duo & Trio Improvisation (2003, CD, Kitty Records ‎– MKF 1034)

3. Improvisation 23 (Derek Bailey, Kaoru Abe & Mototeru Takagi)

阿部薫 (Kaoru Abe) ‎– 暗い日曜日 (Kurai Nichiyobi)


Kurai Nichiyobi (Sombre Dimanche) collects material from two shows, the first on December 4 (1971) at the Akita University Festival, the other two days later at a jazz coffee shop. From the earlier is drawn one track, a sensational version of ‘After The Acacia Rain’. A radically different to that on Acacia No Ame Ga Yamu Toki (performed only five weeks earlier), this is classic Abe. He plays scant regard to the original, contemptuously intoning its basic tune before proceeding to completely tear it to shit. The one track which illustrates Abe at a massive early career peak, it’s an unbelievably frenetic, jumpy, and deliberately rough-around-the-edges performance, and also the one on which an Ayler influence is easily detectable (not just because of its audible ‘Ghosts’ rip) – an almost comically brassy reference to the original, followed by a vicious, breakneck flight into the ether, with ‘Sombre Dimanche’ later given the same kind of treatment.
It’s followed by an equally impressive alto improvisation (‘Alto Saxophone Solo Improvisation’) which, though not as heart-shakingly intense, demonstrates more technical strings to Abe‘s bow. Sort of a demonstration of technique, it amplifies at length a series of his favourite tricks with the instrument: short, brutally blown tones, abruptly gushed out one on top of another in a staircase of sound, and periods of overblowing so harsh as to resemble a form of electronic distortion, speedily juxtaposed with playful melodic cadences. Here Abe is all over the saxophone’s range, leaping from one end of the spectrum to the other with astonishing skill and dazzling pace.
Also included is a bass clarinet improvisation, which further argues the point made by the PSF CDs – that Abe‘s work on the bass clarinet is fundamentally different to his work on the alto saxophone, beyond any blandly obvious contrast in basic sound between the two instruments. Though certainly not afraid to abuse the bass clarinet in his typically frantic manner, Abe was seemingly enamoured of the muted, sombre palette it could project. Hearing a piece as restrained comes as a relief shock after the two preceding alto screams, and no doubt it provided some relief for those who witnessed the performance. It’s fairly typical of Abe‘s bass clarinet excursions: cautious tinkering with pretty, melodic note structures interspersed with tones drawn out and slowly faded – though this is hardly ‘soundscaping’.

2. 阿部薫 (Kaoru Abe) ‎– 暗い日曜日 (Kurai Nichiyobi) (1997, CD, Tokuma Japan Corporation ‎– TKCA-71096)

1. アカシアの雨がやむとき (After The Acacia Rain)
4. 暗い日曜日 (Sombre Dimanche)

阿部薫 (Kaoru Abe) ‎– 未発表音源+初期音源
(Mi Happyou Ongen + Shoki Ongen)
CD BOX 1970~1973


Abe at his best! Crudely generalising a contrast in free jazz tendencies between AMM/SME/MIC/FMP and AACM/ESP, it’s hard to say if Abe‘s closer to the gentle, bearded intellectualism of some European improvisation, or to the gutsier funk of more US freedom fighters. Up there with the best of both Western sides of the sea, but unlike any one from either, his stroppy, razor-sharpening alto style mixes tousled emotionalism with dogged puzzling, like an amalgam of Anthony Braxton and a sadder, angrier Albert Ayler.
DIW released Mass Projection, a previously unissued material dating from a July 1970 gig which sounds as full-bore heavy and straight-up phenomenal as one could hope. This was originally going to come out on PSF, but DIW naughtily intervened – after the deal with PSF had been agreed – with a significantly larger offer to secure the release. Mass Projection – the title a reference to Takayanagi‘s philosophy of improvisation – is sufficiently harsh that it could, with the benefit of hindsight, be regarded as a kind of proto-snuff jazz, in that its only real point of comparison is the wall-flattening roar that Borbetomagus would begin conjuring up 10 years later. The two pieces here – 29 and 24 minutes long respectively, I’m told they were the first and third pieces from the gig in question – see Takayanagi and Abe levelling breathtakingly intense ear-shredding salvoes at each other. Takayanagi is simply sensational, extracting vicious, razor-edge feedback skrees from his guitar which slice gaping holes in the air; Abe, as one would expect, rises to the challenge, meeting Takayanagi head-on, and going all-out to match him blast for blast. Neither lets up an inch (though there is a brief period of respite about 17 minutes into the second track) and, unlike Kaitaiteki kokan, a real musical synthesis is achieved: feedback and noise deployed with musical intelligence and skill and deep reserves of energy to create an intimidatingly dense and textured roaring din, which at this point on the historical timeline was pretty much unprecedented. One of those uncategorisable archival releases that’s not a “new” album and not a reissue, Mass Projection is thrilling, sensational, a revelation – this could well be some of the heaviest music we’ve yet heard from either player.

3. 阿部薫 (Kaoru Abe) ‎– 未発表音源+初期音源 (2012, 4 x CD Box, Youth Inc. ‎– YOUTH-165) (CD1)
高柳昌行・阿部薫* ‎– 集団投射 (Mass Projection)
1. 阿部薫・高柳昌行 Duo – 1970.7.9 Station ’70

Kaoru Abe ‎– Mort À Crédit


After the Partitas double album (recorded 1973, released 1981), Mort À Credit was to become the last Abe album to be released in his lifetime.
Mort À Credit was the title given to Céline‘s novel, not a coincidence and an analogy that makes at least a little bit of sense – Abe was reportedly a major Céline fan, and his solo disks on PSF have Japanese translations of Céline text attached to the songtitles in the CD inserts. It consists of two alto improvs from a show on October 18, 1975, and five more (three on alto, two on sopranino) from another performance a couple of days earlier. Released by Kojima on 2LP in 1976 (the reissue does not appear to contain any unreleased material), it can be said to mark a significant change in Abe‘s style.
It seems that Abe had lost a little of his urgency – this can perhaps be in part attributed to the passage of time – and become more interested in spacing and the exact rhythms of phrasing. While never entirely ignorant of these concerns, by now they had come very much to the fore, as is illustrated by the two recordings from the earlier show here, in which roughly cut-off notes are spaced so regularly that their rhythms are like watching a slowed-down strobelight. With run after run of harsh, crude and almost bawdy staccato honking, Abe speedily races through the octaves in ascending and descending anti-order cadence. He breaks regularly into very shrill squeaks and squeals (and the occasional bold wail-melody) and references non-existent simplistic and just about jokey tunes. The eventual effect is like having someone tapdance on stilletoes on your temple. The recording of these two tracks, mastered for CD reissue directly and audibly from the vinyl, both suffers and benefits from either ill-considered microphone placement or unpredictable stage movement on the part of Abe – some passages are about 50% clearer than others, and at more than one point the fidelity swings sharply, moving from distant, muffled high-pitch screeching tones to furious forehead-centre blowing gusts in virtual machine-gun arc.
Of the three alto tracks from the October 16 performance, the first is the most impressive. Again beginning with twisting, dancing note clusters that somersault forth from the speakers, Abe soon moves into the increasingly familiar technique of aching, wrenching bursts of heavy shrieking alto, separated by stopwatched periods of silence. Dwelling almost exclusively in the upper register, Abe sets upon the sounds lying within a limited tonal range and squeezes hard, eking an incredibly broad range of textures from an ostensibly small palette.

4. Kaoru Abe ‎– Mort À Crédit (1995, 2 x CD, ALM Records ‎– ALCD-8,9) CD1

1. Alto Improvisation No.1
2. Alto Improvisation No.2

You can listen here (from 0:00):

no wave 2013-07-14: part1
no wave 2013-07-14: part2
no wave 2013-07-14: part3
no wave 2013-07-14: part4

no wave 2013-06-30: Roberto Cacciapaglia

Rock music series

 I present the following Roberto Cacciapaglia‘s musics.

Roberto Cacciapaglia ‎– Sonanze


An influential member of the Italian avant-garde, Roberto Cacciapaglia has spent the last four decades blurring the lines between classical and electronic music, developing a sound that has never been restricted by genre. A classically trained pianist and composer from Milan, Cacciapaglia first came to prominence in the early seventies as keyboardist for the king of experimental Italian pop, Franco Battiato on his legendary second LP Pollution. After recording his own debut LP, 1975’s Sonanze in Milan, Cacciapaglia traveled to the Ohr / Cosmic Couriers studios in Cologne to mix the results under the watchful of eye of krautrock overlord Rolf-Kaiser Ulrich (Tangerine Dream, Klaus Schulze, Ash Ra Tempel). The resulting album was a mix of electronic (moog, synth) and classical instruments (guitar, oboe, trombone, clarinet) that was experimental in the cosmische sense.
Cacciapaglia self-produced the album in Milan for the Cosmic Couriers label, and it certainly brings echoes of some cosmiche kraut experiments like those of Popol Vuh, Klaus Schulze or Tangerine Dream, yet retaining a unique personality of its own.
Actually it’s the feel given by Cacciapaglia‘s mixture of classical sense compositions with adventurous experimentalism what makes the sound of Sonanze so unique. Through this work, Cacciapaglia entered into contact with various German music groups such as: Popol Vuh, Tangerine Dream, Wallenstein, Dieter Darks.
180 gram vinyl. Comes with a bonus CD of the album, includes15 bonus tracks recorded between 1972-74.

1. Roberto Cacciapaglia ‎– Sonanze (2013, LP + CD, Мирумир ‎– MR 100702)

Sonanze / Sonances
1. 1st Movement
2. 2nd Movement
3. 3rd Movement
4. 4th Movement
5. 5th Movement
6. 6th Movement
7. 7th Movement
8. 8th Movement
9. 9th Movement
10. 10th Movement

Roberto Cacciapaglia ‎– Sei Note In Logica / Six Notes


Sublime minimal sounds from Italian composer Robert Cacciapaglia – a record we’d rank right up there with the 70s best from Terry Riley, Steve Reich, and Philip Glass! Cacciapaglia follows in a tradition begun by other Italian modernists – like Giusto Pio and Franco Battiatto – but he also adds in phase-oriented playing that really opens things up – a beautifully lyrical vibe that’s probably most close to Terry Riley in its hypnotic swell, but which is carried off here through complicated variations of strings, woodwinds, electronics, marimba, and some especially great vocal passages! The cover’s as wonderful as the music.
Cacciapaglia‘s second album from 1979 featuring the title composition scored for voices, orchestra, and computer. This newly remastered edition also includes the original unreleased acoustic version. This early LP is an anomaly in his output and seems to be his take on the then-current Minimal trend, as the music and instrumentation is highly reminiscent of both Fred Rzewski’s “Coming Together” and Steve Reich’s “Octet” (which, to be fair, Cacciapaglia probably hadn’t heard since it came out at the same time as this LP). But the wild card here is the incorporation of computer sounds–pretty novel for the time, and used to awesome effect. A massive influence on Jim O’Rourke (just ask him) and I’ll bet Fennesz is well aware of this disc as well. Ace photo of a tennis court on the cover too (a pretty Minimalist sport, when you think about it).” Alan Licht – Minimal top ten

2. Roberto Cacciapaglia ‎– Sei Note In Logica / Six Notes (2001, CD, Proper ‎– SP005)

Sei Note In Logica
1. Sei Note In Logica (Original Version) First Part
2. Sei Note In Logica (Original Version) Second Part

3. Roberto Cacciapaglia ‎– Sonanze (2013, LP + CD, Мирумир ‎– MR 100702)

11. Skywaves
12. Electric Avenues
13. Birds Over Prague

4. Roberto Cacciapaglia ‎– Sei Note In Logica / Six Notes (2001, CD, Proper ‎– SP005)

Six Notes
1. Six Notes (Acoustic Version) First Part
2. Six Notes (Acoustic Version) Second Part *

You can listen here (beginning from 0:34):

no wave 2013-06-30: part1
no wave 2013-06-30: part2
no wave 2013-06-30: part3
no wave 2013-06-30: part4

no wave 2013-06-23: Jean-Claude Eloy

Electronic- / Electroacoustic music series

Jean-Claude Eloy  born 75 years ago, in 15th June 1938. Because in this show I present the following musics.

Jean-Claude Eloy ‎– Shânti (Paix / Peace)


The name of Jean-Ctaude Eloy is not one you’II often encounter in thumbnail sketches of French e!ectroacoustic music: he’s rarely mentioned in the same breath as Schaeffer, Henry, Ferrari and others. Born in Rouen in 1938, Jean-Claude Eloy was fortunate enough to come from the last generation to be educated under those formidable French modernists, Darius Milhaud and Olivier Messiaen, and young enough to be buffeted along on the tide of innovations from Gielen and Boulez’s post-Darmstadt aesthetics to the 1960s/70s electronic revolution of Pousseur and Stockhausen. This double-CD set sets restore one of Eloy’s most celebrated 1970s works to print, and reveal him as a herald of Noise, a prodigious maximalist, a sculptor in time.
Shânti (Peace) (1972-73, for electronic and concrete sounds), was completed in 1974. „Shânti” was hailed by the press as a major even as it was revealed at the Festival of Royan in 1974, then after is revival at the Autumn Festival of Paris that same year.
Its composition follows a spell in 1972-73 when he was invited by Karlheinz Stockhausen and Dr. Wolfgang Becker, the then Art Director and Executive Manager of the famous WDR (Westdeautscher Rundfunkt) studio in Cologne, Germany to the WDR Studios. After waiting for years and first exile to the United States, Eloy finally had the opportunity to express himself in the field of electro-acoustics.
Prior to that point Eloy had mostly been composing terse orchestral work in the post-Darmstadt idiom, but he hit Cologne right at that productive and slightly feverish period when Stockhausen was bolting his electronic music to notions of orientalism and One World mysticism.
wdr1r-2 wdr4r-2
In this time Eloy was invited to perform the piece on various contexts: the Americas (1975-77: United States, Brazil, and Canada), Asia (1976-78: Japan, Indonesia, and Hong-Kong), Europe (1975-78: the UK, the Netherlands, Switzerland, and Belgium) – it seems was right on board. This was an era of high-endurance, process based art, from the endless film essays of Michael Snow to the droneworks of La Monte Young and Tony Conrad; not forgetting the Buddhist-inspired early work of Eloy’s compatriot Eliane Radigue and the extended electronic odysseys of Can and Tangerine Dream.
At over two hours, Shanti is an omnivorous feast, with Eloy gorging himself upon ail the principal electronic music techniques of the time: tape looping, oscillators, potentiometers and a mind-boggling array of filtering equipment. He called it a meditation, but it is a much more active meditation than the proto-Ambient sludge you so often get with analogue synthesis; a muggy, ever changing cumulus of laminar sound: a recurring theme like a groggy calliope or a far-off Messiaen organ study: the penetration of human voices – political rallies, terrace chants, Sri Aurobindo, Mao.
The term „meditation music” triggered many conflicting comments including positive ones („… le tus say that Shânti belongs to those very rare works that change you after listening them. You are not exactly the same before and after.”- Gerard Mannoni, Le Quotidien de Paris, 1974). Others, wondering at the strong sound presence of the piece, consider such aspect as hardly helpful to their own meditation… Let us be clear: „what meditates” here („that” who meditates) is composer. He is the one who takes you on his journey and guides you through his work like in a classic romantic symphony. As a listener you are invited to follow „his” meditation… The composition is the meditation.
wdr2r-2 wdr3r-3
The version presented on this album is in keeping with the version performed in 1974 („expanded” version containing a part of completed at the WDR studio in 1973), later digitalized at the WDR studio in 1990s (on ADAT) and revised in 2001 on personal computer after the landmark studio unfortunately had to close at the turn of the century under the WDR’s new management. That unwarranted decision was not technologically founded as the studio equipment were not outdated!
„Shânti” paved the way for Eloy and guided him towards these so-called great „frescoes” (sound and noise poems; dialectics between concrete and abstract sources; temporal structure extensions, etc.) to became one of his signature works: „Gaku-no-Michi” (1977-78); „Yo-In” (1980); „Anâhata” cycle (1984-86), etc.

1. Jean-Claude Eloy ‎– Shânti (Paix / Peace) (2010, 2 x CD, Hors Territoires ‎– HT 05-6) CD1
I – Partie D’Ouverture
1. Les Foules De La Mémoire
2. Son De Médiation
II – Partie D’Extentsion
3. Prémonitions
4. Flash-Back
5. Interview (Aurobindo / Mao)

2. Jean-Claude Eloy ‎– Shânti (Paix / Peace) (2010, 2 x CD, Hors Territoires ‎– HT 05-6) CD2
III – Partie Centrale
1. Mantra Des Étoiles
2. Soldats
IV – Partie Finale
3. Vagues Lentes, Boucles De Feux
4. Contemplation Aux Enfants *


You can listen here (beginnings from 0:10):

no wave 2013-06-23: part1
no wave 2013-06-23: part2
no wave 2013-06-23: part3
no wave 2013-06-23: part4

no wave 2013-06-16: Tony Oxley

Improvising music sorozat

Tony Oxley  born 75 years ago, in 15th June 1928. Because in this show I present the following musics.

Tony Oxley ‎– Ichnos


It’s the third of Oxley’s recording. Includings solo-, quartet-, and sextet improvisations. There is just one track, Oryane, which is solo improvisation. This piece for drums, cymbals, metal and wood surfaces, metal strings both acoustic and amplified. They are played with metal sticks and bowed. There are no recording techniques used in this piece other than the placing of microphones around the kit.

1. Tony Oxley ‎– Ichnos  (1971, LP, RCA Victor ‎– SF8215)
A2. Oryane (Percussion Solo)

Tony Oxley – Tony Oxley

Recorded over a four year period (1971-75), these tracks illustrate the evolutionary development of Tony Oxley’s music, and particularly his percussion vocabulary. Amplification has played a large part in this development, giving breadth to the instrument, and allowing a reconsideration of the role of percussion in relation to improvised and structured music.
Cover drawing by Alan Davie.

2. Tony Oxley ‎– Tony Oxley (1975, LP, Incus Records ‎– 08)
A2. M-W-M
B1. East Of Sheffield
B2. South East Of Sheffield
B3. P.P.1

Alexander von Schlippenbach & Tony Oxley ‎– Digger’s Harvest


Curiously, Alexander von Schlippenbach is one first-generation European free improviser not receiving regular huzzahs by an increasingly cognizant U.S. press. Maybe it’s due to the pianist’s infrequent trips Stateside, or that he doesn’t have CDs hitting the market by the dozens each year. Digger’s Harvest is, then, a timely reminder of Schlippenbach’s many achievements and how, as he approaches the 40-year mark of his landmark work Globe Unity (which spawned the great orchestra of the same name), Schlippenbach continues to create compelling music.
Schlippenbach has a penchant for a tightly-coiled bluesiness that is especially well-aired on Digger’s Harvest, a duo exchange with percussionist Tony Oxley.
One of the few of the intense avant-garde jazz pianists to develop a style largely free of Cecil Taylor’s influence, Schlippenbach has mellowed only slightly with age. These seven duos find both of these marvelous musicians in fine form, the energy level rarely abating. Schlippenbach is far from all crash and burn, however, as he slips in clips from by gone eras along his journeys. He can be introspective, too, when he focuses on sound and timbre.
Like Lovens, Oxley pioneered the use of metal, wood and other materials to extend the timbral palette of a traditional traps and cymbals configuration, but Oxley’s playing has a more palpable linkage to such ’60s drum icons as Milford Graves.
Oxley’s extensive experience interacting with Taylor pays off, as he follows Schlippenbach closely, never letting him stray too far.
Given Schlippenbach and Oxley’s respective histories-they both ventured into free playing at about the same time and have many mutual collaborators-it’s odd that they hadn’t previously worked as a duo. It proves to be an excellent match, though. Oxley’s brand of rhythmic flow is essential to the two nearly half-hour improvisations that bookend the program. Schlippenbach responds with torrential runs that whiplash up and down the keyboard. Conversely, on the five shorter pieces, Schlippenbach’s sharply focused approach to developing concentrated thematic materials elicits a more augmentative approach from Oxley. It’s this give and take that makes Digger’s Harvest such an engaging recording.

3. Alexander von Schlippenbach & Tony Oxley ‎– Digger’s Harvest (1999, CD, FMP ‎– FMP CD 103)
7. Digger’s Harvest

Derek Bailey and Tony Oxley ‎– Soho Suites – Recordings From 1977 & 1995


This double-CD collection is meant to show a continuum of sorts in a collaboration that began in 1963. Guitarist Derek Bailey and drummer Tony Oxley met by chance in their hometown at that time, and formed a band with Gavin Bryars (a bass player back in those days) for the purpose of freely improvising music. Bailey and Oxley played together in various contexts and continue to this day. Featured here is a rehearsal from 1977 on one disc, along with a live disc recorded in New York in 1995. To play these CDs in sequence is quite remarkable. For those who have followed the careers of both men over the decades, it will be astonishing to hear what has been taken for granted in the development not only of their individual styles and approaches to improvisation, but in the actual evolution of those methods as they reach deeper into the musical muck for a kind of meaning that can only be generated in this type of musical pursuit. On the earlier record, there are Bailey’s very short but very quick explosions of notes from all over the fretboard that get interrupted by his going into the instrument itself. Oxley, a busy drummer, uses percussion instruments while playing the kit, making sure he misses none of the notes Bailey drops from his guitar like small bombs. On the later music from 1995, there is a shift in focus. The explorations of tonal boundaries are much more pronounced, percussive extensions become common, and there is almost an architecture in the dynamic. Bailey has moved to using more chords of his own design, while Oxley keeps to the kit more, exploring its wood and metal as a manner of underscoring these spacious, textured explorations. This is an awesome set, so strong it’s better than 90 percent of what’s out there passing for free improvisation.

4. Derek Bailey and Tony Oxley ‎– Soho Suites – Recordings From 1977 & 1995 (1997, 2 x CD, Incus Records ‎– CD29/30) CD1
4. Beak

5. Derek Bailey and Tony Oxley ‎– Soho Suites – Recordings From 1977 & 1995 (1997, 2 x CD, Incus Records ‎– CD29/30) CD2
5. Lispenard

You can listen here (beginning from 00:14):

no wave 2013-06-16: part1
no wave 2013-06-16: part2
no wave 2013-06-16: part3
no wave 2013-06-16: part4

no wave 2013-05-19: Maryanne Amacher

Electronic-/ Electroacoustic music series

Maryanne Amacher born 75 years ago, in 25th February 1938. Because in this show I present the following musics.

Various Artists ‎– Music For Merce 1952-2009 (10 x CD Box set)


The late Merce Cunningham was renowned for his legendary collaborations with the most significant experimental musicians of the late 20th century. Particularly notable is his association with John Cage, who served as the founding musical director of the Merce Cunningham Dance Company until Cage’s death in 1992. Spanning six decades from the early 1950s onward, these recordings capture the breadth of the Cunningham repertory and the rich diversity of Cunningham’s musical collaborations. Composers whose work features prominently in this collection include seminal figures of late-20th-century experimental music such as John Cage, David Tudor, Gordon Mumma, Christian Wolff, and Takehisa Kosugi, among others (for example Maryanne Amacher). For the most part, these compositions have not been recorded elsewhere and are making their first appearance on CD.

1. Various Artists ‎– Music For Merce 1952-2009 (10 x CD Box set) (2010, CD, New World Records ‎– 80712-2) (CD4)

3. Maryanne Amacher – Remainder [Excerpt]

Maryanne Amacher ‎– Sound Characters 2 (Making Sonic Spaces)


Maryanne Amacher was a composer who was not concerned with conventional musical form, instrumentation, and the size of forces or her place in the grander Western musical hierarchy.
Although she was known to use the bows made for producing sounds on stringed instruments, Amacher generally did not use them to produce sounds from an instrument so much as ordinary household instruments, rocks, buildings, almost anything else. Whatever method through which she made her sounds, and conversely, whatever sounds she happened to produce, Amacher took it back to the lab and treated it, digitally or otherwise, often magnifying sound many, many times. Amacher’s compositions were not designed to fill a concert hall, but whole structures such as buildings or houses, or sculpture; often her pieces were louder than anything conventionally musical that one can imagine, louder seemingly than an arena rock concert. Given the extremes of Amacher’s music, one can imagine that a mere recording was at best a poor substitute for experiencing one of Amacher’s installations in person; sort of like trying to contain a hurricane in a can, and for a long time Amacher herself dismissed any proposal toward releasing her music in recorded form.
However, since 1999 John Zorn’s Tzadik label, and a few others since, has been willing to try, and Tzadik’s Maryanne Amacher: Sound Characters 2 consists of a single work in four parts, Teo! (2004). This was created for an installation at the Palace de las Bellas Artes in Mexico City, though the sounds were collected down in the bowels of the Pyramid of the Sun in Teotihuacan, in four caves on which it is now believed the pyramid was deliberately built.
Amacher’s main musical instrument in this environment was a bundt pan. Running out of oxygen in this rarefied place — Amacher was working alongside a crew of 21 physicists who were installing sensors in the ancient caves — Amacher found herself playing the walls of the cave in order to produce the resonance she needed for the finished work. Teo! is an extraordinary work, as well; its first part begins with low hums interrupted by a loud scraping sound that takes the listener totally off guard, and the last consists of a hypnotic, rhythmic pulsation that at first is a tad repellent by being rather hard on the ears, but eventually draws one in; once inside, you can’t tear yourself away from it. Amacher’s music had a constant sense of darkness lurking in the background, much like the environment in which it was created. Whereas so much Western music is concerned with bringing light to the darkness of the world, in this piece, Amacher brought the darkness to the brightly lit Palace de las Bellas Artes. This is in keeping with the mythos of pre-Columbian Mexican civilizations, who believed that caves served as an entryway to other realms of existence and not merely fissures deep within the earth’s crust. And that’s the nature of this journey; like Mammoth Cave in Kentucky, if you’re uncomfortable with extremes of temperature, wayward moisture, or tight, cramped spaces, you ought not to go down there
It is what it is, and you’re more likely to have a good time if you invite the adventure and its discomforts. For those who would dare take this trip with Amacher — now that’s she’s gone and can no longer install her music into the spaces that best suit it — invaluable recordings such as Tzadik’s Maryanne Amacher: Sound Characters 2 serves as the only medium through which they can join her.

2. Maryanne Amacher ‎– Sound Characters 2 (Making Sonic Spaces) (1999, CD, Tzadik ‎– TZ 7043)
TEO! A Four Part Sonic Sculpture

1. Pt 1 Shapers
2. Pt 2 Heralds
3. Pt 3 Bags
4. Pt 4 Wave (A) And (B)

Maryanne Amacher – Sound Characters (Making The Third Ear)


The “Making the Third Ear” part of the title refers to the phenomenon that listeners experience when listening to Maryanne Amacher’s compositions — played at the right volume, sounds seem to emit from within the listener’s head! Even though these works were written for installations in specific spaces, and not for recording, the “third ear” still happens (but not with headphones). The included pieces range from a rather comforting wash of tones (“Synaptic Island”) to boggling, bleeping loops (“Dense Boogie 1”), and are, necessarily, often excerpts of longer works.

3. Maryanne Amacher – Sound Characters (Making The Third Ear) (1999, CD, Tzadik ‎– TZ 7043)

1. “Head Rhythm 1” and “Plaything 2”
3. Synaptic Island (excerpt “VM2 from the Levi-Montalcini Variations”)
5. Dense Boogie 1*

You can listen here (beginning from 02:52):

no wave 2013-05-19: part1
no wave 2013-05-19: part2
no wave 2013-05-19: part3
no wave 2013-05-19: part4

no wave 2013-05-26: Can

Rock music series

“The Lost Tapes” from the german krautrock band released on 18th June 2012.

Can – The Lost Tapes – Box Set


The Krautrock pioneers Can have always been a little cagey about what is and isn’t in their vaults. The received wisdom is that the German experimental rock group spent years in their studio, jamming constantly and recording everything, with bassist Holger Czukay editing the most promising tapes into the magnificent pieces that they released on record between 1969 and the mid-70s. They’ve always given the impression that their records were the result of grabbing whatever happened to be nearest at hand; when they’ve gone back into their archives for studio material in the past, they’ve resurfaced with outstanding stuff. Unlimited Edition from 1976, a collection of tapes that were lying around, includes career highlights like “Connection” and “Cutaway”; Delay 1968 is a complete, splendid album that the initial lineup of the band, with cracked American vocalist Malcolm Mooney, recorded before Monster Movie but somehow neglected to release until 1981.
When the legendary Can studio in Weilerswist was sold to the Germany Rock n’ Pop Museum, the entire space was disassembled and moved, and in the process, reels and reels of poorly marked and seemingly forgotten tapes were found buried amid other detritus in the studio. These tapes held over 30 hours of unreleased music from Can spanning a nine-year period and including work from both vocalists Malcolm Mooney and Damo Suzuki. Edited down to just over three hours, The Lost Tapes still includes an extensive amount of unheard studio, live, and soundtrack work from the band, and at its heights is as revelatory and brilliant as the best material on their well-loved albums.
For the past 30 years, though, all they’ve hauled up from the archive has been a few discs’ worth of live material. So The Lost Tapes sounded like a very big deal. It was assembled by Can keyboardist Irmin Schmidt and his son-in-law, Daniel Miller and frequent collaborator Jono Podmore, with the latter credited as editor.

Early vocalist Malcolm Mooney left the band under doctor’s orders after suffering a nervous breakdown connected with heavy paranoia, and his unhinged vocals characterize collections of early Can recordings like Delay. On The Lost Tapes, Mooney rants his way through the ten-plus-minute “Waiting for the Streetcar,” a charged jam that crackles with all the same kind of energy that would embody the post-punk movement years later. Of the Mooney era, “Deadly Doris” also has the same fuzzy punk vibes meeting the kind of Krautrock groove Can excelled at, while the spoken eeriness of “When Darkness Comes” finds a brittle soundscape of formless tones and menacing muttering.
“Halcyon days, not outtakes,” trumpeted the album’s press release. That’s not entirely true. A lot of these tracks are distinctly outtakes: alternate versions of familiar themes, or at least ideas Can executed differently elsewhere. Highlights are bountiful throughout the set’s three discs, with soundtrack work like the hypnotic “Dead Pigeon Suite” and brilliant live renditions of classic tracks from the Damo Suzuki era like “Spoon” and “Mushroom.” “Dead Pigeon Suite”, is 12 minutes of what appears to be exploratory jamming toward what became the taut, densely packed single “Vitamin C”. Some of the material cuts in and out between studio and live recordings, while other studio tracks are extended pieces with well-known album tracks housed in the middle of before-unheard jams.

Can 1971 - Irmin Schmidt, Jaki Liebezeit, Michael Karoli, Ulli Gerlach, Holger Szukay, Damo Suzuki

Can 1971 – Irmin Schmidt, Jaki Liebezeit, Michael Karoli, Ulli Gerlach, Holger Szukay, Damo Suzuki

“Messer, Scissors, Fork and Light”, similarly, is Can working out the various hooks that coalesced into “Spoon”. Half-familiar titles turn out to be germinal variations on “Mother Sky”, “Soul Desert”, and “Sing Swan Song”. “Abra Cada Braxas” and “Blind Mirror Surf” aren’t the same songs as Tago Mago’s “Bring Me Coffee or Tea” and “Aumgn”, but there’s a family resemblance. There are lengthy live versions of “Spoon” and “Mushroom”– not the same as the ones that appeared on last year’s Tago Mago reissue, but of similar vintage. — as well as “One More Saturday Night”, a live take of Ege Bamyasi’s “One More Night”.
With over 30 hours of material to cull from, it goes without saying that Can loved to jam. If The Lost Tapes has any shortcomings, it would be that Can’s exploratory nature led them to follow any idea at great length, and several of the songs approach or exceed the nine-minute mark, making the set difficult to digest at once. Some of the live tracks lack the fire of the rest of the set, as do some of the seemingly innocuous interludes. While The Lost Tapes isn’t for every casual listener, the collection keeps from becoming a “fans only” compilation through the sheer amount of ideas and material put forth. Can’s inarguable importance in so many fields of music from experimental to production-minded electronic music, and these lost recordings represent an amazing mother lode to any Can enthusiast and certainly should hold more than enough interesting moments for even a curious new listener.

1. Can – The Lost Tapes – Box Set (2012, 3xCD, Spoon Records, CDSPOON55 / Mute ‎– 9527-2) CD1

2. Waiting For The Streetcar
3. Evening All Day
4. Deadly Doris
5. Graublau
6. When Darkness Comes
7. Blind Mirror Surf

2. Can – The Lost Tapes – Box Set (2012, 3xCD, Spoon Records, CDSPOON55 / Mute ‎– 9527-2) CD2

2. True Story
5. Desert
6. Spoon – Live
7. Dead Pigeon Suite

3. Can – The Lost Tapes – Box Set (2012, 3xCD, Spoon Records, CDSPOON55 / Mute ‎– 9527-2) CD3

4. Networks Of Foam
5. Messer, Scissors, Fork And Light
10. Mushroom – Live


You can listen here (beginning from 01:39):

no wave 2013-05-26: part1
no wave 2013-05-26: part2
no wave 2013-05-26: part3
no wave 2013-05-26: part4

no wave 1996-05-12: in south africa

in south africa  – live radio mix (ether concert)

tilos rádió / no wave : 1996.05.12.
radio presenter: Pál Tóth Pál

location: tilos rádió, fm 98,00 MHz
budapest 1922
pf. 150
podmaniczky utca 27.

used audio materials:


King Übü Örchestrü – Live at Jazzgalerie, Nickelsdorf, Konfrontation ’95 (07.21.1995)
Jason Kao Hwang’s „The Far East Side Band” – Live at Jazzgalerie, Nickelsdorf, Konfrontation ’95 (07.23.1995)



Various Artists – Bertha Egnos & Gail Lakier’s Ipi-Tombi: Original Cast Recording
Motor Totemist Guild – Contact With Veils
Stephan Micus – The Music Of Stones



Various Artists – As Yet Untitled
After Dinner – Paradise Of Replica
Henry Kaiser, Charles K. Noyes, Sang-Wong Park – Invite The Spirit
Sun Ra – Monoralis And Satellites
Kuriokhin & Kaiser – Popular Silence
Tenko – Dragon Blue
Catherine Jauniaux & Ikue Mori – Vibraslaps
Illusion Of Safety – Water Seeks Its Own Level
Naked City – Absinthe

you can listen herein south africa

no wave 1996-03-24: forr-a-dalom

forr-a-dalom  – live radio mix (ether concert)

tilos rádió / no wave : 1996.03.24.
radio presenter: Pál Tóth and Zsolt Sőrés

location: tilos rádió, fm 98,00 MHz
budapest 1922
pf. 150
podmaniczky utca 27.

used audio materials:



Negativland – Escape From Noise


Karády Katalin / Sárdy János – János vítéz
Munkásőr dalok II
Famous Hungarian Folk Songs
Pyatnisky Russian Folk Chorus – Russian Folk Songs
ReR Samplers (Robert Wyatt – Internationale)


ground zero-gz2ios-inside2chadbourne-hbombs2
les batteries-nw960121dtable-ultimate2amm-combine2

Ground Zero – s/t
Illusion Of Safety – Inside Agitator
Eugene Chadbourne With Evan Johns & The H-Bombs – Vermin Of The Blues
Les Batteries – Demesure Revolutionnaire
Dissecting Table – Ultimate Psychological Description II
AMM – Combine + Laminate + Treatise ’84
Eddie Prévost / Organum – Flayed / Crux
Borbetomagus – s/t
Kazuyuki K. Null / James Plotkin – Aurora
Robert Wyatt – Nothing Can Stop Us
Josep Vallribera / Tony Moore – Assessements & Translations

you can listen hereforr-a-dalom (the first 30-40 minutes are missing)