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WRECK: Neuromancer [playlist]

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  • ninplant@xs4all.nl
    wReck thiS meSS on Radio Patapoe 97.2 - Amsterdam Adventures in UNsound: no. 158 Neuromancer / New Romancer #1 Maandag, 19 November 2001 (16.00 - 19.05)
    Message 1 of 1 , Dec 5, 2001
      wReck thiS meSS on Radio Patapoe 97.2 - Amsterdam

      Adventures in UNsound: no. 158 > Neuromancer / New Romancer #1
      Maandag, 19 November 2001 (16.00 - 19.05)

      "Nine different police departments and public security agencies were
      absorbing the information that an obscure subsect of militant
      Christian fundamentalists had just taken credit for having introduced
      clinical levels of an outlawed psychoactive agent known as Blue Nine
      into the ventilation system of the Sense/Net Pyramid." [*]

      Neuromancer [parts 1-4] > written and read by William Gibson part 1-4 [1/1]**

      "We monitor frequencies. We listen always. Came a voice, out of the
      babel of tongues, speaking to us. It played us a mighty dub." p. 110

      + Virtual Person > Outcast [2]
      + Aix Vibration > Curly Top [2]
      + Shonki > Dubolition [2]

      "'There is always a point at which the terrorist ceases to manipulate
      the media gestalt. A point at which the violence may well escalate,
      but beyond which the terrorist has become symptomatic of the media
      gestalt itself. Terrorism as we ordinarily understand it is inately
      media-related...'" p. 58

      + 10 Ton Laboratory > Woob [2]
      + Thank You For Smoking > The Lone Stuntman [3]
      + Yesterdays Future > Doof [2]

      "Cyberspace. A consensual hallucination experienced by billions of
      legitimate operators... A graphic representation of data abstracted
      from the banks of every computer in the human system. ... Lines of
      light ranged in the nonspace of the mind, clusters and constellations
      of data. Like city lights, receding..." p. 51

      Forglen > Janek Schaefer [4]
      i was reading the word spindle just as Gibson was reading the word spindle.
      Thousand Camera Corona > Janek Schaefer [4]
      Tone-Arm Two > Janek Schaefer [4]

      "When they'd strung the cables, according to some complex scheme of
      Molly's, they hung them with battered sheets of yellow plastic. As
      they worked, Case gradually became aware of the music that pulsed
      constantly through the cluster. It was called DUB, a sensuous music
      cooked from vast libraries of digitalized pop; it was worship...and a
      sense of community." p. 104

      Hnock > Liminal [5]
      Schrek Factor > Liminal [5]
      Twilight Circus [6]
      Movin' Dub > Digidub [6]

      "He remembered Amsterdam, another room, in the Old City section of
      the centrum, buildings centuries old. ... Armitage off on some
      cryptic foray..." p. 44


      [*] When the first anthrax letters started coming in via the US
      Postal Service, Me and Nina thought almost immediately 'homegrown
      terror'. The reasons were obvious -- the anthrax was being sent
      almost exclusively to what might be perceived as the more liberal
      members of Congress [liberal / progressive being totally relative]
      and that this anthrax tactic has been a prime strategy of the extreme
      religious right in its war with abortion clinics. For years the right
      has been terrorizing these clinics with [mostly hoax] anthrax
      letters... What has been amazingly absent in the straight media [also
      a victim because THEY too are perceived by the extreme right as too
      liberal! Go figger! But this reveals how far to the right the right
      is any further and they will be joining the Taliban in the caves of
      Afghanistan since their fundamentalisms coincide and certainly echo
      one another. One need only read Jerry Falwell's declarations on who
      caused 9.11 and see that it is almost the same perpetrators that Bin
      Laden names.]. OK back to the straight media: unless you look really
      hard you will never learn that the 1] US is/was the world's largest
      mfr of chemical and biological weapons, 2] the US has thousands of
      labs with anthrax manufacturing capabilities, 3] the grade of anthrax
      is so high that only the US is capable of having produced this grade.
      But the straight media doesn't headline these findings or connections
      and neither [understandably] do the spokes-wanks at he State Dept.
      This article DID appear in the TIMES but only after weeks of everyone
      creating incredibly fanciful foreign invasion scenarios.

      ANTHRAX LINKED TO TYPE MADE BY U.S. [excerpt] By William J. Broad,
      New York Times, December 3, 2001: "The dry powder used in the
      anthrax attacks is virtually indistinguishable in critical technical
      respects from that produced by the United States military before it
      shut down its biowarfare program, according to federal scientists and
      a report prepared for a military contractor.The preliminary analysis
      of the powder shows that it has the same extraordinarily high
      concentration of deadly spores as the anthrax produced in the
      American weapons program. While it is still possible that the anthrax
      could have a foreign source, the concentration is higher than any
      stock publicly known to be produced by other governments. The
      similarity to the levels achieved by the United States military lends
      support to the idea that someone with ties to the old program may be
      behind the attacks that have killed five people.... The Federal
      Bureau of Investigation recently expanded its investigation of
      anthrax suspects to include government and contractor laboratories as
      a possible source of the deadly powder itself, or of knowledge of how
      to make it.... Its high concentration is surprising, weapon experts
      said, and far beyond what military analysts once judged as the likely
      abilities of terrorists. Still, experts caution that the emerging
      evidence is tentative and that it is too early to rule out other
      possible suspects, be they domestic lone wolves or hostile foreign
      states like Iraq."

      [**] With Zoom reverb character 1,3,4,10 &/or effects ensemble dly +
      rev ring mod 8

      [1] "Neuromancer" on Time Warner Audio Books is an interesting audio
      distillation of the book which eliminates details and elaboration but
      somehow manages to preserve the book's integrity. When the book
      intelligensia talks about great books they seldom mention Sci Fi.
      Especially now in this ridiculous debate of Jonathan Franzen who has
      written a self-declared important novel and hates the fact that Oprah
      chose it for her book club, other books mentioned as great might
      throw in both Pynchon and DeLillo [both more 'revolutionary' I guess
      than Franzen] and maybe Mailer and Bellow...but NEVER Gibson's fusion
      of zeitgeist, electronic intelligence, paranoia, anarchy which
      certainly brothers up to Burrough and Joyce...point being:
      conventional, status quo reinforcing, bourgeois, family-based dramas
      are STILL what the stuffy dusty self-declared intelligensia prefer...

      The interesting Luddite detail regarding Gibson's "invention" of the
      concept of cyberspace is that he was computer oblivious while writing
      the book and the idea was for the most part imagination. It won all
      sorts of awards and yet, like other sf authors [Ballard, Burroughs,
      Vonnegut, Heinlein, Dick] they are regarded as marginal authors, as
      authors who do not deal with the proper language or psycho babble or
      conventional metaphorical land/mindscape to be considered in with the
      more conventional heavyweights. The book came out in 1984,
      high-Reagan times, Orwellian days and it forever changed the
      headspace of literature. The magical reuse of language is what cast
      me out there. The plot was secondary. Its like a symphony, I listen
      for the sound, never concern myself with a plot or story.

      "Silicon-quick, street-smart, pop-infected, darkly erotic, hotwired
      to the leading edges of art and technology..." to quote the audiobook
      jacket. Publisher's Weekly called it "a revolutionary novel." Part of
      a book's greatness is how it predicts the zeitgeist, how it has an
      instinctive vision described best as preja vu, a pre-view of things.

      This version is produced by Maja Thomas, abridged nimbly by Jeff
      Gorney & John Whitman. The original incidental music is by Stuart
      Argabright <argabright@...>, William Barg and Black Rain.
      Additional music by the Voodooists [urban faux-african ethnographic],
      Shin Shimokawa. It also includes some music by U2.

      I had the pleasure of meeting Argabright through Judy Nylon at an
      opening recently. It was great meeting the guy behind one of the
      great one-off odd singles from the 80s. I have played "The Dominatrix
      Sleeps Tonight" by Dominatrix [aka SA] as much as I have ever played
      any single cut in the 16 years I have done radio.

      During this broadcast of the book, I included a lot of dub backdrop
      because 1] Wm. Gibson pays tribute to the sound and influence of dub
      in the book, and 2] dub itself makes huge claims of being the audio
      equivalent of space travel. Dub approximates through its druggy
      weightlessness, its generous use of huge swaths of silence, its own
      lyrical preoccupations with outer space or mirrored inner as a

      [2] "More Bass Than Space" on Dubmission <www.dubmission.com> is an
      elegant display of meticulously chosen dub that hoes immense spaces
      in half time and allows the musical aspects to wander around the
      globe. It is not thievery, not appropriation, it is something more
      substantial, sonorous and resonant - it is resuscitation. Deep,
      vibrant, and full. It fills the space wherever you are with
      speculative deep-hoed furrows of bass. The Dubmission crew are among
      the best at putting together memorable compilations of dub that
      retunes the ear to new versions of the version. And at a double disc
      - one called "Bass", the other called "Space" - there is nary a
      clinker among them. Featuring: Tomato Sleuth, Bluey, Tribal Drift,
      Walter Ego, Etherealites, Singers & Players, Dub Factory, Outcast,
      Woob, Kaleidoscope, Blu, Solar Quest, Doof, and othersŠ It is all
      about the dialectical confluence of space and bass - how bass leads
      to the contemplation of our relation to all manner of space -
      acoustic, metaphorical, drug-induced, urbanŠ

      [3] "Dubbed on Planet Skunk" on Dubmission
      <dubmission@...> includes some great stuff including this.
      This is material which hybridizes anything that comes in its path -
      water, ether, electronix, beats, message, roots so that it all gets
      liquified into some bio-electrical amniotic inflammable material.
      Includes Doof,, zion Train vs Sounds from the Ground, Dubolition,
      Lithium6 and Alpha & OmegaŠ

      [4] "Above Buildings" on Fat Cat's splinter Series
      <www.fat-cat.co.uk>. This was awarded "Honorary Mention" at the 2001
      Ars Electronica. At this point I have received and listened to a lot
      of new electronica and in my discussions recently with Black Sifichi
      we realized that although the music is on the edge of something
      [meaning, pain-pleasure, gratification-frustration, depth-surface] I
      am still trying to GET it. As a DJ I went for about 10 years without
      reading any major music journal. And now I am wondering how essential
      is the "painted word" in this genre, meaning how much explication of
      strategy and purpose needs to be known to properly orient and color
      the works so that our ear's mind funnels the sounds in properly Š
      this is not to diminish the effect of what I am hearing on the
      Shaefer [or the Aube, Ikeda, Bip Hop SeriesŠ] but as a genre I am
      wondering where does the pleasure come in?

      [5] "Nosferatu" on Knitting Factory <www.knittingfactory.com> is from
      1995 and I remember playing this on my show on WFMU. It is DJ Olive &
      Loop [later of We] and Danny Blume on one-string duct tape bass. It
      is ay-mazing how this record stands out with a few others at knitting
      factory. They stand out because they are so exceptionally good on a
      label doing so much wilted clueless free noodling jazz with thin
      production and just directionless, aimless clichéd artsy unlistenable
      twaddle. When I do like something of theirs I REALLY like it. Like
      this and the equally ancient "Necropolis: the Dialogic Project". What
      I like about illbient is that it works viscerally [beats, low end
      bass] but also seems to tap into the post modern or sci fi notions of
      identity, shifting foci of reality, a kind of journey into the soul
      of modern humans cut loose from preconceptions. The music insists on
      this alienation to get us to the next level of listening.

      [6] "Dub This Net 1" on Hypertunez is WTM-Paris branch
      <www.wtm-paris.com>, Laurent D.'s 3rd foray into choreographing a
      post-dub CD. He has exquisite taste æ he has again created a polemic
      manifesto that surreptitiously urges you gently to get IT. IT is the
      sound of post-dub material that mysteriously morphs before our very
      ears every few years as it retains a central element of [non-kitschy]
      rootedness. It traverses the flirtations with annoying noise, with
      discarded sonic detritus and hyper-activated rhythms and slides it
      into a mellifluous dub churn. What this creates is a dynamic
      dialectic of lethargic beats [influenced by the pace of ganja] and
      the hyper beats of post drum and bass which have absorbed the
      infections of social edginess that has determined that all escape
      entails the incorporation of ever greater speeds... With production
      by Norsq and the choice of cuts by connoiseur Laurent, you end up
      going right, right into the heart of it. I have no problem with this
      kind of genetically-modified roots...


      wReck thiS meSS on Radio Patapoe 97.2 - Amsterdam

      Adventures in UNsound: no. 159 > Neuromancer / New Romancer #2
      Maandag, 26 November 2001 (16.00 - 19.00)

      "A dark wave of rubble rose against a colorless sky, beyond its crest
      the bleached, half-melted skeletons of city towers." p. 210

      Neuromancer [part 5-8] > written and read by William Gibson [1/1]
      Road Movie > Yonderboi [1]
      Blueprint for An Aural Cathedral > Judy Nylon & Stuart Argabright [2]
      Headphonics 0/0 & 0/1 > Ryoji Ikeda [3]
      Sensationz of the Mynd > Mental Nomad [4]
      Preface / Jah's Hardcore > Ez3kiel [5]
      Life Forms 1 > Future Sound of London [6]
      Speaker Shaker > Zion train [7]
      Interstellar Overdub > Tassilli Players [8]
      Bass the Final Frontier > Tassilli Players [8]
      Bass 1999 > Tassilli Players [8]
      Sattalite of Dub > Tassilli Players [8]
      Pic de Pollution > UHT [9]

      "... the paneled room folded itself through a dozen impossible
      angles, tumbling away into cyberspace like an origami crane." p. 174

      Extended Voodoo Mix > Voodooists [10]
      Cut Fiction > Ez3kiel [5]
      Sur le Fil > Ez3kiel [5]
      C-Machinery > Bio Chip C. [11]
      Not So Clean > Bio Chip C. [11]
      D*BM*TH*RF*CK*R > Ez3kiel [5]
      Via continuum > Ez3kiel [5]
      Salystoar > Ez3kiel [5]
      The Orientalist > High Tone [12]
      Life Forms 2 > > Future Sound of London [6]
      Hempro 905 > High Tone [12]
      Outer Bassways Incorporated > Tassilli Players [8]
      Dub of Tranquility > Tassilli Players [8]
      One Giant Dub for Mankind > Tassilli Players [8]
      Hubble Dub > Tassilli Players [8]
      Outer Space Version > Tassilli Players [8a]
      Sinking Slowly / Body Surf > Yonderboy [1]


      [1] "Shallow & Profound" <
      http://www.mole.de/eng/Artists/yonderboi.html> media contact:

      "The Panther Modern leader who introduced himself as Lupus YONDERBOY,
      wore a polycarbon suit with a recording feature that allowed him to
      replay backgrounds at will." * Neuromancer, p. 67.

      This is currently aheavy-rotation fave and relates sonically very
      much to Kruder & Dorfmeister [[new Austro-Hungarian Empire?] in that
      it uses kitsch and cool to finagle really lush and seductively
      palyful tunes and melodies and beats out of recycled materials. From
      the website "nineteen year old newly discovered Hungarian talent
      Yonderboi his debut album on Mole Listening Pearls. This album
      features an emotional and melodic, also saucy mixture of Downtempo,
      Trip-Hop, Lounge and 60s Bar-Jazz Yonderboi presents an album with an
      exceptional tightness although it was recorded using simple methods
      and tools, and he also impresses the audience with his mature musical
      understanding. Yonderboi's manyfold influences vary from oldschool
      French Hip-Hop and nineties Trip-Hop to soundtracks of eastern
      European cartoons and cinema noir of the sixties. Yonderboi«s music
      transports his charming Eastern European identity with a special
      Hungarian flair.

      When in civvies, this 19-year-old Hungarian talent goes under the
      name of Laszlo Fogarasi Jr. He lives only 250 kilometers from
      Budapest, but it takes a good four hours by bus to reach the tiny
      village of Mernye where he grew up. Despite already showing great
      interest in music as a child, Yonderboi was not allowed to sing in
      the school choir... The first musical influences were discovered in
      his father's record collection: Osibisa, Rhoda Scott and early disco
      hits. At the same time, Yonderboi also listened to the Hungarian and
      Polish jazz greats of the sixties and seventies such as Studio 11,
      Rudolf Tomsits, Gyorgy Vukan, Syrius and Zbigniew Namislowski. The
      real roots of his music, however, can be found in the soundtracks of
      eastern European cartoons."

      [2] WTM: After meeting you in NY I ran across an audiobook version of
      "Neuromancer", and caught your name in the fine print creds.

      Stuart Argabright <argabright@...>: "Neuromancer", we (me and
      William Barg, Black Rain) got that through Mr. Gibson's request.
      Maybe we were the music people that worked with him the most, from
      1984 through to 1995's "Johnny Mnemonic" movie . Great stuff, - and
      doesn't William have quite the voice?"

      WTM: Anything new on the revolving plate?

      SA: "'The City in the 21st century. A 2001 collection' produced by me
      and presented by Harvestworks is being Mastered. The 11 cuts include
      Judy 's "Aural Cathedral" piece & remix plus Ikue Mori & DJ Olive (I
      believe their first released music as a 'duo') David Linton & Charles
      Cohen (Buchla synth) (ditto) & 8 Bit Construction (Atari,Commodore &
      Nintendo music) Marina Rosenfeld & Dj Singe, among others. Recorded
      both before and after Sept. 11. Am looking for the right label now.
      Am looking at Gomma, the new Munich label that released the "Anti NY"
      CD (now that's another great one).

      [3] "+/-" on Touch <www.touch.demon.co.uk>. As I've raved before,
      this stuff does something to your psycho-acoustic constitution. The
      wave patterns of digital bleeps and blips have a medical /
      bio-rhythmical fascination that allows RI to perform a kind of sonic
      form of psycho-surgery in the way that Tibetan bells or Gregorian
      chants work. There seems to be an element of Zen, like a Zen sound
      garden being constructed which forces all cognition into doubt. Each
      piece seems to also want to create a logical relationship between the
      psychological and the geographical. The pieces seem to caress and
      trace and fill and rub against and throb of their own accord [without
      much human interference or tarnish] against walls as if to question
      the entire idea of enclosure be it epidermal or sheet rock. He also
      seems to be turning sounds that we processed as either noise or music
      against socio-cultural preconception thus insisting and demanding
      more from the sonic environment we absorb daily.

      [4] "The Ill Saint Presents Subterranean Hitz Volume 3, The Ill
      School" on Word Sound <www.wordsound.com> Of course I love this label
      but this compilation is half-great, half-mediocre. The less said the
      better. The more instro the more illuminating. Inc. great Scotty
      Hard, Unipod Particles, Spectre, Mr. Law & other hard ass posse
      typesŠ The dubbiest are the most speculative, the most resonant and
      effective. The least are the stripped down gangsta huffing and
      puffing and blowing nobody's house down.

      [5] "Handl3 with Care" on Jarring Effects out of Lyon
      <jarringeffects@...> I don't know much about this band. Black
      Sifichi brought it with him when he came up from Paris a couplea
      months back. I can vouch for this as further evidence of France's
      involvement in the Dub Revitalization project. Some of the best dub
      is currently eminating out of the land of the Franks & Gauls. It is a
      rich dynamic melding of punk noise speed and dub. Recommended.

      [6] "Life Forms 1-5" There was a year back in the mid-90s when FSOL
      were the band of record. A rich confluence of ambient, of atmosphere,
      environmental sounds and rich sophisticated beats...and then someone
      hit the auto-destruct button.

      [7] "Love Revolutions 1999" on Universal Egg. ZT -- the busiest dub
      proselytizers in the universe.

      [8] "Outer Space" Tassilli Players on Universal Egg
      <http://wobblyweb.com> "Bass Accentuated Stereo Sound" is a kind of
      loose ad hoc open pool of players centred around ex Cosmics and
      Harare Dread member Dave Hake. TP have a strong working relationship
      with Zion Train. Coventry [Tow Tone label] local, Dave Hake has
      ventured around with extended periods in Spain and North Africa.
      After some punk subsistence in Manchester, cleaning sewers, a stint
      on "a Kibbutz, a stay with the Bedouin in the Sinai Desert, a quick
      exit from an embattled Israel, a Greek Island 'Desert Island Dick'
      for a time followed by a period of rest and refreshment in Ireland
      where the power of Ben Evnagh inspired the idea of the Tassilli
      Players. The journey back to London took him across the path of a man
      with a horn and Dave Hake Trumpetman was born. With Hake as musical
      director and Zion Train at the controls any Tassilli Players
      excursion into version is going to be a trip worth taking. The music
      is rooted in conventional dub music but more often than not takes a
      trip into the more experimental and diverse worlds that influence
      Dave Hake's musical world - from Jamaican ganja fields to Sowetan
      speakeasies taking a diversion through the harmonic overtones of Phil
      Niblock is one of the routes that Dave may take on his journey to a
      finished recording, meaning that a unique sound is guaranteed."

      [8a] Tassilli Players 12-inch, 1995, Universal Egg "Outer Space
      Version b/w Edison Dub Version"

      [9] "Black Tambour Presente: UHT / Pic de Pollution" on Black
      Tambour, more hard-edged dub with a rich bristling sound that like
      Ez3kiel creates that necessary tension between dub's mellifluous and
      slack resonant beats and speed drum & bass & noisy stuff -- the
      dialectic that daily takes place inside our bodies between soul and
      gut, between wisdom and stimulus...

      [10] WTM: Since you 'were' Dominatrix of "The Dominatrix Sleeps
      Tonight" that famous take on "The Lion Sleeps Tonight" I thought
      maybe you had something to do with a band of anthropo-urban trance
      [in the old sense] music called the Voodooists.

      Stuart Argabright: Yes, that was William Barg and me again. Real
      Haitian voudoo mixed with electronic dance music. "Queen Of Voodou"
      apeared on the Soundtrack of J Demme's "Married To The Mob" [1989?]
      We did the "Damballa 2000/The Jungle And The Zoo" 12" on Warlock
      (Boo!) in 1992. And a great LaserDisc "Video Voudou" for ASK/Kodansha
      Japan in Japan as part of the infamous 'Video Drug" series from the
      early '90's. That's great you know them. Barg had connections into
      the Haitian voudou community in Brooklyn and so we worked with a 5th
      generation Voudou Priest and his 2 Mambo's (wives), they are wild !
      All Voodooist music is planned for rerelease."

      [11] "2001" on Lux Nigra <www.dense.de> Biochip is Martin Damm is the
      prolific producer of many projects and sounds most notably as "Speed
      Freak" with his work in hardcore & gabba. In other words, noisy,
      loud, punky, 1000BPM. He has put out 14 solo albums to date. Biochip
      is the closest to his pulmonary system. He has worked with Mille
      Plateaux, Mono Tone and Anodyne. as the press info notes: "a short
      but bright glimpse into the ongoing collective dream of a future that
      never happens..."



      Send all sound material for airplay and review to:
      Wreck This MeSS
      Radio 100 / Radio Patapoe
      bart plantenga
      Zeilstraat 23 / II
      1075 SB Amsterdam
      the Netherlands


      I am proud to announce that my playlists have begun appearing
      regularly in 3am Magazine <http://www.3ammagazine.com> under the
      title "Radiophotogram: Visual Radio". Also look for my lengthy and
      depth-of-focus interview with Judy Nylon

      "For a more international, commercial feel, try 3am Magazine. . . .
      The cosmopolitan, rive gauche quality of the site is wonderfully
      obvious. From 'cutting edge short fiction' to political satire and
      music reviews, 3am is a dream publication for the young, literary and
      clued-up, and it counter-balances nicely the London/New York
      publishing behemoth." o Bill Broun, The Times (Monday April 30 2001).

      "Cool ezine 3am is worth taking a look at for a dip into the edgier
      waters of literature on the net." o Michelle Pauli, The Guardian



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