WRECK: Max [F]Eastley
- wReck thiS meSS ~ Radio Patapoe 97.2 ~ Amsterdam
Ethno-Illogical Psycho-Radiographies: no. 236: Look Eastley Young Technaut
Maandag, 20 Oktober 2003 (16.45 to 19.00)
Clash of the Barbarians [exc] > Gilbert Almar [pre-show post-war lecture]
+ Oil / Foreign Affairs > Eno / Moebius / Roedelius 
Fog > Spaceheads 
Rewinding Shadowland > Gen Ken Montgomery 
Air as Matter > Spaceheads vs Max Eastley 
Red Shift > Spaceheads 
The Old Moon in the Young Moons Arms > Spaceheads vs Max Eastley 
Let All Mortal Flesh Keep Silence > David Toop 
Invisible Nature > Spaceheads vs Max Eastley 
Generator X > Spaceheads vs Max Eastley 
30506 > VVV 
On a Clear Day > Spaceheads 
London Thunder > compiler Peter Cusak 
+ I Am Sitting in a Room > Alvin Lucier 
Rain on Skylight While Lying in Bed > compiler Peter Cusak 
Fruit Flies Before the Séance > Max Eastley 
East Meets West > John Fahey 
Pond > John Hudak 
Mud & Quartz > David Toop 
Dance of the Reeds [Tchaikovsky] > London Festival Orchestra 
Don't Answer the Phone > Cheech & Chong 
Perpetual Sound Check > DJ Olive 
The Black Drop of Venus > Spaceheads vs Max Eastley 
Inner Organs > Don Cherry & Inner Organs 
Performs on the Great Stalacpipe Organ at Luray Caverns > Leland Sprinkle 
Pine > Clickety & Clack 
The Sound Museum > Ken Nordine 
How To Check Your Own Turntable > DJ Cor Blimey 
 "After the Heat" on Sky vinyl. The sky is nothing but
bio-electrically charged Jello 1-2-3.
 "Low Pressure" on Bip Hop <www.bip-hop.com>. Morning traffic jam
jazz. Don't point that radar detector at my third eye buddy!
 "Pondfloorsample" on XI <www.xirecords.com>. GKM is the neighbor
you always suspected you had when you lived down on the Lower
Eastside. A guy with broken glasses and putting a dented microphone
into dusty holes in your tenement hallway. He will play you
recordings of cockroaches playing cards if you've got an hour some
Friday around midnight.
 "The Time of the Astronaut" on Bip Hop <www.bip-hop.com>. Not
totally successful sonic synchro/syncretic meeting but plenty of
interesting material. Eastley's material could have probably done
better in an ambient surrounding or have him be the sonic navigator.
Here there is a feeling of alination as if organic sound making
devices have been torn from their environments, like orchestra
musical instruments tossed out with the listeners' intermission trash.
 "Hmm: Versions of Hymns" on Sprawl <www.dfuse.com/sprawl/> is a
great compilation. One of my fave discs of 2000. Includes Toop, a
long-time collaborator with Eastley in what can only be termed
prog-adventurous acousto-electric music. He teams with Eastley, for
instance on "New and Rediscovered Musical Instruments" on Virgin with
Eastley supplying the sculptures that interact with their
surroundings [i.e., they make noise]with Toop supplying voice,
guitar, chordophone, and flute, with Brian Eno on bass guitar, among
 "Forma.1.02" on Progressive Form
<http://homepage.mac.com/p_form>. Joy ride through unspoken
ambiences, wearing trousers that restrict movement and transpiration.
A convincing compilation of PF artists.
 "Your Favourite London Sounds" Compiled by Peter Cusack on LMC.
Forgotten urban sounds can be catalogued ethno-musicologically and
here are given extra-delight factor of sonic-satori.
 On an old WFMU radio show tape. Lucier handing over the
microphone to a room back when no star was about to hand the mic over
to anyone let alone anything so square as a room.
 "Solar: Music Travelogue" on Multimood. Also includes O Yuki
Conjugate, A Small Good Thing, Rapoon, among others.
 "Hitomi" on ill-fated LivHouse Records. Fahey turns the reverb
up and casts his timpanic lot to waves of sound entering a tenuous
uncomfortable state between John McLaughlin & Alice Coltrane.
 "Bitstreams" on JdK. This Dutch label cares about neglected
sonic experiences. This was a much grander affair comprising a
compilation of sonic trips from the Bitstreams show at the Whitney
Museum of American Art in 2001. Includes Jim O'rourke, Andrea
Parkins, DJ Spooky, Pamela Z. DJ Olive, Laminar among others.
 From Dec 19, 1995 WFMU WTM radio show. Strangely I have very
little of Toop on CD or vinyl. Gave away an incredible 4 track
General Strike EP that included Snow Drops to WFMU when I left NY and
vinyl behind. Cherry mix also from this tape.
 One of those records full of great scratches you find laying
around the dusty Patapoe floors. Watch the needle leap across the
cavernous scratches with the reverb effects turned way up.
 Haircuts are not everything especially if you have a budget for
good drugs and know how to laugh through the blue smoke.
 "Site of Sound: Of Architecture and the Ear" on Errant Bodies,
compiled by Brandon LaBelle.
 "Word Jazz" Substance and voice for the ultimate in coolness and
perhaps THE most defining audio voice
 "DJ Cor Blimey & His Pigeon" on Conundrum
<www.euronet.nl/users/fuhler>. This is a clever blend of avant
abstract, culture jamming, good old fashioned bad record sampling and
some Dmitri from Paris Lounge gestures. Definitely in my Tops for
o This again is an attempt to catch up but it only puts me hugely and
disorientingly way out of sequence and order but I did not want to
just forget about some memorable music played lately. And who cares
about chronology anyway?
o Excerpts from "Max Eastley: Images of Sound" Interview by Fergus Kelley
Max Eastley began in the late sixties to investigate the relationship
of chance to music. Using kinetic sound machines or the environmental
forces of wind, streams and sea. As a consequence his career opened
out into these various branches of creative and philosophical
exploration. He has exhibited his sound installations
internationally, and collaborated with a wide range of artists,
musicians and filmmakers, including Brian Eno, Peter Greenaway, Evan
Parker, Thomas Kölner and Eddie Prévost.
Tell me about the instrument that you play; how you came to create the Arc?
It actually started life as a sculpture, well, one of a series of
sculptures; very large flat wooden bow shapes pulled into tension by
steel strings which were fixed in trees and played by the wind. They
were about ten feet long with metal resonators and purely acoustic.
They had just been exhibited outside the Scottish National Gallery of
Modern Art and I had them in my studio when Hugh Davies asked me to
perform with him in a gallery where we were exhibiting. I just took
one along, struck the string and flexed the bow, changing the pitch.
Its ancestors are the musical bow, the Tromba Marina, which was
alleged to have been used for signaling between ships, and the
monochord, which is used to demonstrate the harmonic series.
Subsequently I adapted one of the originals: made it smaller and in
two halves so that I could transport it, put on a magnetic pickup and
amplified it. ... The pitch range is much larger than conventional
stringed instruments. You can pluck and bow the string, stop the
string along its length and change the pitch by flexing the body of
the instrument, so that quarter tones are possible. It's very subtle,
definitely not tone/semitone, it's more like a voice. Add digital
effects and you have a formidable array of resources. I'm always
finding new things, it's like another planet. It almost plays itself
maybe it remembers its beginnings as an Aeolian Harp.
o I met Max Eastley during one of those delirious instants of
synchronous and serendipitous chance at an inspiring evening of
evocative and adventurous sounds called the "Night of the Unexpected"
at the Paradiso on the night of 4 September, 2003 in Amsterdam as
part of Gaudeamus Muziekweek. Others performing were Mouse on Mars,
Yannis Kyrakides, Eboman, Charlemagne Palestine, the Staalplaat Sound
System, Scanner, and Collision Palace among others. And all for 10
euros. That is certainly one of the great things about Amsterdam -
I was here to see, hear and finally meet David Toop after all these
years. Well, when I arrived I inquired at the door where I might find
Mijnheer Toop inside. The people at the door had no idea but a
stately man with grey hair stepped in and said something like
"Nowhere. He's not here. Had to cancel." Indeed, Toop had cancelled
because of a personal emergency and as chance turned into fate, me
and the informant who turned out to be Max Eastley began a lively
extended conversation about music and performance. Something
memorable: Eastley, like so many musicians and music people I have
asked, in his leisure time away from music, seldom listens to the
music of his realm, in fact, Eastley told me he often doesn't listen
to ANY music when he is at home relaxing. If it is any kind of music
it might be classical music. This has gotten me to thinking about the
relationship to what musicians play and listen to I hope to
interview Eastley at some later date.
I heard an absolutely riveting performance by Eastley that night -
zen in sound - especially in contrast and as antidote to what had
preceded it [Carsten Nicolai who played incredibly deep bass-anchored
minimal techno with clicks and glitches. The bass was so deep that it
rattled the closed doors like a stiff wind.] He played the one string
Arc with feedback and some amplification that made me feel like he
was some Antarctica inhabitant communing with strange cold forces.
Send all sound material for airplay and review to:
Wreck This MeSS
Radio 100 / Radio Patapoe
Zeilstraat 23 / II
1075 SB Amsterdam
o 1500 READERS-EYEBALL "LISTENERS" per WEEK*
o "plus another few hundred when it hits the BSI list!" Ezra
o Old playlists archived at <http://www.wfmu.org/~bart/>
o Recent selected Playlists [early stages] at
o Special playlists can be found at 3am Magazine
<http://www.3ammagazine.com> under the title "Radiophotogram: Visual
Radio". Also posted is a depth-of-focus interview with Judy Nylon. To
appear soon: excerpts from my scandal-delicious paris novel, PARIS
SEX TETE, a review of the spoken word works of Roberto Valenza...
SDI > SELF DESTRUCTION INSURED >
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