Monthly Archives: May 2013

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)

mercebox2

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)

amachercd2_3

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)

amachercd1_3

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

Can

can_lost_tapes2

Can was a German experimental rock band formed in Cologne, West Germany in 1968. Later labeled as one of the first krautrock groups, they transcended mainstream influences and incorporated strong minimalist and world music elements into their often psychedelic music.
Can constructed their music largely through collective spontaneous composition –– which the band differentiated from improvisation in the jazz sense. Holger Czukay referred to Can’s live and studio performances as “instant compositions”. They had occasional commercial success, with singles such as “Spoon” and “I Want More” reaching national singles charts. Through albums such as Monster Movie (1969), Tago Mago (1971), Ege Bamyasi (1972) and Future Days (1973), the band exerted a considerable influence on avant-garde, experimental, underground, ambient, new wave and electronic music.
The roots of Can can be traced back to Irmin Schmidt and a trip that he made to New York City in 1968. While Schmidt initially spent his time with avant-garde musicians such as Steve Reich, La Monte Young and Terry Riley, he was also eventually exposed to the world of Andy Warhol, Hotel Chelsea[1] and, The Velvet Underground. In his own words, the trip “corrupted” him, sparking a fascination with the possibilities of rock music. Upon his return to Cologne later that year, an inspired Schmidt formed a group with American avant-garde composer and flautist David C. Johnson and music teacher Holger Czukay with the intention of exploring his newly broadened horizons.
[1]The Hotel Chelsea is a historic New York City hotel and landmark, known primarily for its history of notable residents, which has been the home of numerous writers, musicians, artists, and actors.
schmidt2Schmidt said in a 2004 interview: “When I founded the group I was a classical composer and conductor and pianist making piano recitals, playing a lot of contemporary music but also Brahms, Chopin and Beethoven and everything. And when we got together I wanted to do something in which all contemporary music becomes one thing. Contemporary music in Europe especially, the new music was classical music was Boulez, Stockhausen and all that. I studied all that, I studied Stockhausen but nobody talked about rock music like Sly Stone, James Brown or the Velvet Underground as being contemporary music. Then there was jazz and all these elements were our contemporary music, it was new. It was, in a way, much newer than the new classical music which claimed to be ‘the new music’.”
Up to that point, the inclinations of all three musicians had been exclusively avant-garde classical. Schmidt chose to play organ and piano, while Czukay played bass and was able to record their music with a basic two-track tape machine. The group was soon fleshed out by with guitarist Michael Karoli, a 19-year-old pupil of Czukay, and drummer Jaki Liebezeit. Can was ahead of its time in a number of ways. can-live2Czukay and Schmidt had studied with Stockhausen, and Schmidt had also performed and conducted works by Cage, Feldman and Gorecki. Drummer Jaki Liebezeit free-jazz hátterű had a free-jazz background and had played with Chet Baker and Manfred Schoof, and guitarist Michael Karoli had studied Gypsy music and served time in dance bands. Their varied backgrounds, their dedication to experimentation and their mutual ignorance about rock music allowed them to develop a beautifully unclichéd sound, one that treated drums and bass with inordinate respect. As the group developed a more rock-oriented sound, a disappointed Johnson left the group at the end of 1968.
The band used the names “Inner Space” and “The Can” before finally settling on “CAN”. In mid-1968, the band enlisted the creative, highly rhythmic, but unstable and often confrontational American vocalist Malcolm Mooney, a New York-based sculptor, with whom they recorded the material for an album, Prepared to Meet Thy Pnoom. Unable to find a recording company willing to release the album, the group continued their studio work until they had material for what became their first release, Monster Movie, released in 1969.
This album contained new versions of two songs previously recorded for Prepared to Meet Thy Pnoom, “Father Cannot Yell” and “Outside My Door”. Other material recorded around the same time was released in 1981 as Delay 1968. can-duo2Mooney’s bizarre ranting vocals emphasized the sheer strangeness and hypnotic quality of the music, which was influenced particularly by garage rock, psychedelic rock and funk. Repetition was stressed on bass and drums, particularly on the epic “Yoo Doo Right”, which had been edited down from a six-hour improvisation to take up a mere single side of vinyl. Liebezeit’s tight but multifarious drumming was crucial in carrying the music. Mooney suffered a nervous breakdown. He returned to America soon afterwards on the advice of a psychiatrist, having been told that getting away from the chaotic music of Can would be better for his mental health.
He was replaced by the more understated Kenji “Damo” Suzuki, a young Japanese traveller found busking outside a Munich cafe by Czukay and Liebezeit. Though he only knew a handful of guitar chords and improvised the majority of his lyrics (as opposed to committing them to paper), Suzuki was asked to perform with the band that same night. The band’s first record with Suzuki was Soundtracks, released in 1970, a compilation of music made for films that also contained two earlier tracks recorded with Mooney. Suzuki’s lyrics were usually in English, though sometimes in Japanese (for example, in “Oh Yeah” and “Doko E”).jacki2 Tago Mago was followed in 1972 by Ege Bamyasi, a more accessible but still avant-garde record which featured the catchy “Vitamin C” and the Top 10 German hit “Spoon”. It was followed by Future Days in 1973, which represents an early example of ambient music, as well as including the pop song “Moonshake”. Suzuki left soon after the recording of Future Days to marry his German girlfriend, and become a Jehovah’s Witness. Vocals were taken over by Karoli and Schmidt; however, after the departure of Suzuki, fewer of their tracks featured vocals, as Can found themselves experimenting with the ambient music they had begun with Future Days.

Extract an interview of January 1997 with Holger Czukay by Richie Unterberger 

RU: I wonder if you could compare the band as they were with Malcolm Mooney and as they were with Damo Suzuki.
HC: With Malcolm Mooney, we were very fresh. Malcolm was a great rhythm talent. He was a locomotive. That was the right singer from the very beginning, as this was our weak point. Maybe we were creating rhythms, but you could say we were not very stable in ourselves in doing that. That means [we needed] someone who was pushing us into the rhythm, and giving us the feel that this is the right thing to do. This was Malcolm Mooney, and he got integrated very much into what all the other musicians did. suzuki2I think he was the right singer in the right place at the right time. When he left because of psychological reasons, Damo came in. The group was far more experienced by that time. Damo is not such a pusher. He is a different sort of a singer, and therefore the group achieved such a stability. Again, Damo fitted perfectly into that. So you can say by the follow-up by the musicians who came in. Everything was really perfect.
The problem was, when Damo disappeared, Can was now without a singer. Suddenly we felt a hole in our music. Michael was singing, but he is not – a guitar player actually should not sing. Except like Jimi Hendrix or something like that. Actually, a guitar player should play guitar. That was our problem, suddenly, what we had. We tried out so many singers at that time. And nobody really fitted again into this group. It was somehow Can’s fate, or tragedy, or whatever you call that, that it happened like it happened. But that’s what was given to the group.
The later albums Landed (1975) and Flow Motion (1976) saw Can moving towards a somewhat more conventional style as their recording technology improved. In 1977 Can were joined by former Traffic bassist Rosko Gee and percussionist Rebop Kwaku Baah, both of whom provided vocals to Can’s music, appearing on the albums Saw Delight (1977), Out of Reach (1978) and Can (1979). During this period Holger Czukay was pushed to the fringes of the group’s activity; in fact he just made sounds using shortwave radios, Morse code keys, tape recorders and other sundry objects. He left Can in late 1977 and did not appear on the albums Out of Reach or Can, although he was involved with production work for the latter album. The band seemed to be in a hiatus shortly afterwards, but reunions have taken place on several occasions since.
Since the split, all the former members have been involved in musical projects, often as session musicians for other artists. In 1986 they briefly reformed, with original vocalist Mooney, to recordRite Time (released in 1989). There was a further reunion in 1991 to record a track for the Wim Wenders film Until the End of the World, and Can have since been the subject of numerous compilations, live albums.
Rebop Kwaku Baah died in 1983 following a brain hemorrhage. Michael Karoli died of cancer on 17 November 2001.

Selected discography:

monster2soundtrack2tagomago2
egebamyasi2delay2peelsessions2
music2unlimited2losttapes2

Monster Movie                    Soundtracks                        Tago Mago (40th Anniversary Edition)

Ege Bamyasi                        Delay 1968                           The Peel Session

Music (Live 1971-1977)       Unlimited Edition                The Lost Tapes

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

Can-The-Lost-Tapes2

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

Can-Band-2

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

Maryanne Amacher

Maryanne_1(2)

Maryanne Amacher (born on February 25, 1938 in Kane, Pennsylvania) was an American composer and installation artist. She was a pioneer in the field of electro-acoustics and computerised music at a time when new challenges were presented regularly. She was born, to an American nurse and a Swiss freight train worker. As the only child, she grew up playing the piano. Amacher left Kane to attend the University of Pennsylvania on a full scholarship where she received a B.F.A in 1964. While there she studied composition with George Rochberg. She also studied composition in Salzburg, Austria, and Dartington, England, and privately with Karlheinz Stockhausen. Subsequently, she did graduate work in acoustics and computer science at the University of Illinois at Urbana-Champaign.
In Ms. Amacher’s “City-Links” series, which she began in 1967 and returned to periodically through the 1990s to create 22 installations in all, sounds from different locations within a city — or several cities — were transmitted over telephone lines and mixed together.
While in residence at the University of Buffalo, in 1967, she created City Links: Buffalo, a 28-hour piece using 5 microphones in different parts of the city, broadcast live by radio station WBFO. There were 21 other pieces in the “City Links” series, and more information can be found in the brochure for an exhibition on the series by Ludlow 38 in NYC ((available on their website http://www.ludlow38.org/index.php?/archive/maryanne-amacher-city-links/ ).

PHOTO_2

A common feature was the use of dedicated, FM radio quality telephone (0-15,000 Hz range) lines to connect the sound environments of different sites into the same space, a very early example of what is now called “telematic performance” and preceded much more famous examples of this by Max Neuhaus and others. Neuhaus was involved with the original ’67 work in Buffalo.
Other pieces in the series used sounds from the harbors of Boston and New York. In “City-Links 15,” Ms. Amacher combined sound from New York, Boston and Paris for a live broadcast carried by WBAI-FM in New York and Radio France Musique in Paris.
After presenting early works, including the first few pieces in the “City-Links” series, during fellowships at Harvard University and the Massachusetts Institute of Technology, she was invited by the composer John Cage to collaborate on several projects. She produced a storm soundtrack for Cage’s multimedia “Lecture on the Weather” (1975), as well as a sound environment piece, “Close Up,” which accompanied Cage’s 10-hour solo voice work, “Empty Words” (1978). For Cunningham, she produced “Torse” and several other evening-length works from 1974 to 1980.
Her major pieces have almost exclusively been site specific,[1] often using many loudspeakers to create what she called “structure borne sound”, which is a differentiation with “airborne sound”, the paradox intentional. By using many diffuse sound sources (either not in the space or speakers facing at the walls or floors) she would create the psychoacoustic illusions of sound shapes/”precense”. Amacher’s early work is best represented in the three series of multimedia installations produced in the United States, Europe, and Japan: the sonic telepresence series, “City Links” 1-22 (1967- ); the architecturally staged “Music For Sound Joined Rooms” (1980- ) and the “Mini-Sound Series” (1985- ) a new multimedia form which she created, that is unique in its use of architecture and serialized narrative.

Maryanne Amacher--photo by Peggy Weil

Ms. Amacher was drawn to extremes: some of her scores — for example, the music she composed for the choreographer Merce Cunningham’s “Torse” (1976) — could be so soft as to be nearly inaudible at times. But more typically, she reveled in powerful, high-volume sensory assaults, combining high-pitched electronic chirping and solid bass drones to produce a visceral effect.
“With three tape recorders and a huge set of speakers spread out around a darkened room,” Peter Watrous wrote in The New York Times after a performance at the Kitchen in 1988, “she used immense volume to make sound feel liquid, all-enveloping, as if it were pouring into ears, between fingers and through hair. Ms. Amacher layered her noises — buzzing tones wrapped in sandstorm textures, rumblings like faraway thunder storms late at night, an idling motorcycle, jets swooping by — into an apocalyptic, terrifying landscape.”
Many of Ms. Amacher’s most notable works are known only by reputation. They were site-specific installations that would be difficult, perhaps even impossible, to recreate, although several have been staged in new versions for different locations. Moreover, the handful of recordings that offer samples of her scores barely do them justice: Ms. Amacher was less concerned with sound on its own terms than with the way sound was perceived in space and over extended time periods.
She worked extensively with the physiological (not psychoacoustic) phenomenon called otoacoustic emission, in which the ears themselves act as sound generating devices. Amacher composed several “ear dances” designed to stimulate clear “third” tones coming from the listener’s ears. It’s not yet adequately researched and clear as to whether these works are solely from otoacoustic emissions or perhaps also combination and difference tones.

MARYAN_2

The subtitle of her first Tzadik Records album Sound Characters (Making the Third Ear) references these “ear tones”.
Amacher describes this phenomenon: When played at the right sound level, which is quite high and exciting, the tones in this music will cause your ears to act as neurophonic instruments that emit sounds that will seem to be issuing directly from your head … (my audiences) discover they are producing a tonal dimension of the music which interacts melodically, rhythmically, and spatially with thetones in the room.
Tones ‘dance’ in the immediate space of their body, around them like a sonic wrap, cascade inside ears, and out to space in front of their eyes … Do not be alarmed! Your ears are not behaving strange or being damaged! … these virtual tones are a natural and very real physical aspect of auditory perception, similar to the fusing of two images resulting in a third three dimensional image in binocular perception … I want to release this music which is produced by the listener …
“I was particularly interested in the experience of ‘Synchronicity,’ hearing spaces distant from each other at the same time, which we do not experience in our lives,” she told the composer Alan Licht in a 1999 interview for The Wire.
Over the years she received several major commissions in the United States and Europe with work in Asia and Central and South America.
In 2005, she was awarded the Prix Ars Electronica (the Golden Nica) in the “Digital Musics” category for her project “TEO! A sonic sculpture”. At the time of her death she had been working three years on a 40 channel piece commissioned by the Experimental Media and Performing Arts Center in Troy, New York.
For the last decade of her life she taught at the Bard College MFA program.
She was also an important influence for a generation of composers who combined rock instrumentation and avant-garde sensibilities, among them Rhys Chatham and Thurston Moore. The documentary film “Day Trip Maryanne,” by Andrew Kesin, captures discussions and performance collaborations between Ms. Amacher and Mr. Moore.


She died on 22th October 2009 in Rhinebeck-ben (N.Y.).

Selected discographie:

amachercd1_2amachercd2_2

Maryanne Amacher ‎– Sound Characters (Making The Third Ear)
Maryanne Amacher ‎– Sound Characters 2 (Making Sonic Spaces)

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.
06-60-331-878

used audio materials:

cassette:

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)

LP:

ipitombi2mtg-contact2micus-stones2

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

CD:

asyetuntitled2afterdinner2kaise-spirit2
sunra-monorails2kuriokhin-kaiser2tenko-dragon2
jauniaux-vibra2ios-water2nakedcity-absinth2

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.
06-60-331-878

used audio materials:

casette:

nagativland-escape2

Negativland – Escape From Noise

LP:

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)

CD:

ground zero-gz2ios-inside2chadbourne-hbombs2
les batteries-nw960121dtable-ultimate2amm-combine2
eprévost-crux2borbetomagus2kknull-aurora2
wyatt-nothing2vallribera-2

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)

 

no wave 1996-04-21: sounds of cage

sounds of cage  – live radio mix (ether concert)

tilos rádió / no wave : 1996.04.21.
radio presenter: Pál Tóth and Zsolt Sőrés

location: tilos rádió, fm 98,00 MHz
budapest 1922
pf. 150
podmaniczky utca 27.
06-60-331-878

used audio materials:

LP:

lbctrio2braxton-royal2

LBC Trio – Baobab
Anthony Braxton / Derek Bailey – Royal Volume 1

CD:

greaves-songs2asyetuntitled2zparkins-nightmare2
jinhikim2paragonof2pyartaud2
ammmusic2

John Greaves – Songs
Various Artists – As Yet Untitled
Zeena Parkins – Nightmare Alley
Jin Hi Kim – Kommunguitar
A Paragon Of Beauty – s/t
Pierre-Yves Artaud – Contemporary Flute Music
AMM – AMMMusic 1966

writings:
john-cage_a-csend2biblia

John Cage – Csend (Silence)
Szent Biblia (Holy Bible)

you can listen heresounds of cage

no wave 1996-05-05: mazsi-vízió

mazsi-vízió  – live radio mix (ether concert)

tilos rádió / no wave : 1996.05.05.
radio presenter: Pál Tóth és Zsolt Sőrés

location: tilos rádió, fm 98,00 MHz
budapest 1922
pf. 150
podmaniczky utca 27.
06-60-331-878

used audio materials:

SP:

ios-banishing2Rpainkillers2

Painkillers – Tropical Todiac
Illusion Of Safety – Banishing Ritual

LP:

larmstrong-live2zappa-shutup2

Louis Armstrong – Live Recording
Frank Zappa – Shut Up ’N Play Yer Guitar

CD:

OLYMPUS DIGITAL CAMERAhallways2centuryxxi2
esharp-cryptid2ffrith-quartets2biota-bellowing2
eprecost-orourke2jwillett-ruins2

Various Artists – Miniatures
Various Artists – Hallways: 11 Musicians And HMSL
Various Artists – Century XXI – USA 1 – Electronics
Elliott Sharp & The Soldier String Quartet – Cryptid Fragments
Fred Frith performed by Violet Wires / Didkovsky / Frith / Howell / Lussier ‎– Quartets: Lelekovice (String Quartet No 1) / The As Usual Dance Towards The Other Flight To What Is Not
Biota – Bellowing Room / Tinct
Eddie Prévost & Jim O’Rourke ‎– Third Straight Day Made Public
Jason Willett And Ruins – s/t

instrument:

Sőrés Zsolt – violin

you can listen heremazsi-vízió

no wave 1996-04-07: yes-to-dash

yes-to-dash  – live radio mix (ether concert)

tilos rádió / no wave : 1996.04.07.
radio presenter: Pál Tóth és Zsolt Sőrés

location: tilos rádió, fm 98,00 MHz
budapest 1922
pf. 150
podmaniczky utca 27.
06-60-331-878

used audio materials:

LP:

rascalreporters2ffrith-technology2lastnightingale2

Rascal Perorters – Happy accidents
Fred Frith – Technology Of Tears
Varius Artists – The Last Nightingale

CD:

skeletoncrew2zornfilmw1-2ios15-2
gastrdelsol-harp2nakedcity-heretic2bailey-muir2
dissectingtable2dbailey-cyro2nakedcity-torture2

Skeleton Crew – Learn To Talk
John Zorn – Filmworks: 1986-1990
Illusion Of Safety – Fifteen
Gastr Del Sol – The Harp Factory On Lake Street
Naked City – Heretic: Jeux Des Dames Cruelles
Jamie Muir / Derek Bailey – Dart Drug
Dissecting Table – Between Life And Death
Derek Bailey / Cyro Baptista – Cyro
Naked City – Torture Garden

writings:

xes2

Közel a peremhez (Yes fanzine) I. szám
Magyar Fórum 1995.12.14. száma
MIÉP röplap

you can listen here: yes-to-dash

 

no wave 2013-05-12: Richard Lerman

Other music series

In this show I present from musics of Richard Lerman, who is an american sound artist, performer and composer:

Richard Lerman – Music of Richard Lerman (1964-1987)
Disc One: Travelon Gamelon (Music For Bicyles)

r.lerman-cover

Japanese EM Records dug up and beautifully presented, the long lost Travelon Gamelon, a piece by Richard Lerman for amplified bicycles! Performed on stage with upturned bikes, but also, performed on the streets, the bikes mic’ed and each with it’s own tiny amplifier broadcasting the various sounds of the bike rolling along streets,the metallic flutter of spokes, the sounds of passing cars, squeaking brakes, whipping wind, all woven into the organic whole. A piece of moving music, constantly shifting, obviously improvised and random, and so totally wonderful. There are two versions of the piece, which has been performed for years allover the world, one is the concert version, which features musicians on stage, with upside down bikes, using various implements with which to strike, rub and bow the different parts of the bicycles, these are the versions that are the most gamelan like, a gorgeous assemblage of metallic clangs and percussive clamor. From dreamy and spare, to cacophonous and wildly chaotic. A sort of junkyard gamelan, definitely clattery but also strangely melodic.

But it’s the other versions, the Promenade versions, that are the most exciting. These pieces are basically field recordings of cyclists on mic’ed and amplified bicycles, every sound their riding creates being broadcast throughlittle speakers affixed to the bikes, and recorded by Lerman! So not only is this group of bikes creating this gorgeous whirring mechanical ambience, that sound is also travelling through city streets, a self contained performance of sorts, a strange little cloud of metallic shimmer and buzzing mechanical ambience performed for all passersby. It’s also cool to hear the organizers’ instructions, children laughing and playing, running alongside,ringing their own bike bells, you can hear Lerman giving orders to the cyclists as they prepare to begin the piece, and various warnings like “Watch out for the metal!” Street cleaners, random cars, voices and footsteps, all a sort of organic backdrop to the divine slow shifting whir the bicycles produce.

Constantly shifting, and changing, depending on the speed of the bikes, the direction of the amplifiers the placement of the mics, the people or cars, amazing. It reminds us a bit of the Taj Mahal Travellers in fact,TMT’s method of broadcasting their sounds out of loudspeakers, and then
recapturing them with microphones placed at various distances, well, Travelon Gamelon is almost like a mobile Taj Mahal Travellers.

Travelon Gamelon_2

1. Richard Lerman – Music of Richard Lerman (1964-1987) (2006, 2xCD, EM Records, EM1063CD) CD1
Travelon Gamelon (Music for Bicyclet)

1. Promenade Version [Boston, MA, July 2, 1979]
2. Concert Version [Pittsburgh, PA, June 6, 1981]
3. Promenade Version [Amsterdam, The Netherlands, April 27, 1982]
4. Concert Version [Amsterdam, The Netherlands, April 27, 1982]
5. Concert Version [Wellington, New Zealand At Victoria University, July 31, 1986]

Richard Lerman – Music of Richard Lerman (1964-1987)
Disc Two: Selected Works

This collection would be well worth it for disc one alone, 5 lengthy excerpts from various performances of Travelon Gamelon, but also included is a second disc, of various other pieces Lerman composed and performed over the years spanning 1964-1986.
For Two of Them was composed in Dec 63 / Jan 64 using tape music technique of splicing, layering, speed changing, filtering and an old spring reverb unit. The source material is almost entirely from records except for sound from a white noise generator and one oscillator.
The records used were „City of Glass” by Robert Gattinger and the Stan Kenton Big Band and the Mahler 6th symphony.
„ I have been told that this is an early ’plunderphonic’ piece and I don’t even hear that world until some 30+ years after making the piece. For me, the piece has always been about working with SOUND as a plastic material. I was never interested in electronic music that was pitch based and was pleased that oscillators I was working with, alongside the oscillators in early synthesizers drifted as much as they did.” (Richard Lerman)
Section for Screen, Performers and Audience is a 16 mm film that is scored for any number of performers and serves as a framework for improvisation. The performers and audience view the film (the performers have their back to the audience as they face the screen). The score was generated by oscilloscope imagery from sound with Hi-Contrast music imagery superimposed. The improvisations of the musicians are electronically modified and extended as the sections of each piece fade into black. performance at the Boston Conservatory of Music, Oct 26, 1975.

Images for the film "Section for Screen, Performers and Audience"

Images for the film “Section for Screen, Performers and Audience”

End of the Line: some recent dealings with death was composed in 1978. The instrumentation was not specific. The pitches notated were very specific. This was after the death of many people very close to Lerman. The movements are:
1. Mom
2. Press
3. John and Emi
4. Lois
“End of the Line” used a tape delay that was 20-25 seconds long. Performers were to choose notes to play and when they heard the delay, pick new notes from the selection and play again. Recording into the tape delay was controlled by my performance using electronics. At time, filters, ring modulators, and/or frequency shifting was used to modify the recorded sound. When performers did not hear the delay enter on time, they were to crease playing. As more players dropped out, the section would come to and an end.
This was performance at Brandeis University at memorial concert for composer and friend John Boros and his wife, Emi who died when subject of high speed police chase collided with their car in the Boston area.
Soundspot was composed for the radio show hosted by David Moss called Sound Sculptors. The entire piece is made from the amplification two instruments:
1. metal tines from the inside of a toy piano
2. a forty foot long amplified slinky from a science supply house used to demostrate wave motion.
The sound is unique. Lerman suspended the toy piano tines from the ceiling with harpsichord wire and attached piezo devices to that wire. He also attached another harpsichord wire to the device so that he could pull on it – therefore streching the wires in the system and making doppler shifts from the bowing of the metal tines.
The slinky was also suspended in similar fashion and by pulling on and bowing a thread, a wire range of sounds was possible. The performance of the two instuments was mixed together.
Music for Plinky and Straw was precursor to the piece A Matter of Scale that was performed inside the Houston Astrodome. The piece was premiered at Mobius in Boston, with Malcom Goldstein, Larry Johnson, Tom Plsek and myself. This is the solo version of the piece and was performed at the Old Meat Market Craft Centre in Melbourne, Australia in July, 1986.

2. Richard Lerman – Music of Richard Lerman (1964-1987) (2006, 2xCD, EM Records, EM1063CD) CD2
Selected Works

1. For Two Of Them
2. Sections For Screen, Performers And Audience
3. End Of The Line: Some Recent Dealings With Death
6. Soundspot
7. Music For Plinky And Straw
1. For Two Of Them

You can listen the show (beginning from 00:26):

no wave 2013-05-12: part1
no wave 2013-05-12: part2
no wave 2013-05-12: part3
no wave 2013-05-12: part4