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WRECK: Max [F]Eastley

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  • ninplant@xs4all.nl
    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
    Message 1 of 1 , Jan 6, 2004
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      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)
      SIMUL-streaming <http://freeteam.nl/patapoe/>

      *~*~~**~**~**~

      Clash of the Barbarians [exc] > Gilbert Almar [pre-show post-war lecture]
      + Oil / Foreign Affairs > Eno / Moebius / Roedelius [1]
      Fog > Spaceheads [2]
      Rewinding Shadowland > Gen Ken Montgomery [3]
      Air as Matter > Spaceheads vs Max Eastley [4]
      Red Shift > Spaceheads [2]
      The Old Moon in the Young Moons Arms > Spaceheads vs Max Eastley [4]
      Let All Mortal Flesh Keep Silence > David Toop [5]
      Invisible Nature > Spaceheads vs Max Eastley [4]
      Generator X > Spaceheads vs Max Eastley [4]
      30506 > VVV [6]
      On a Clear Day > Spaceheads [2]
      London Thunder > compiler Peter Cusak [7]
      + I Am Sitting in a Room > Alvin Lucier [8]
      Rain on Skylight While Lying in Bed > compiler Peter Cusak [7]
      Fruit Flies Before the Séance > Max Eastley [9]
      East Meets West > John Fahey [10]
      Pond > John Hudak [11]
      Mud & Quartz > David Toop [12]
      Dance of the Reeds [Tchaikovsky] > London Festival Orchestra [13]
      Don't Answer the Phone > Cheech & Chong [14]
      Perpetual Sound Check > DJ Olive [11]
      The Black Drop of Venus > Spaceheads vs Max Eastley [4]
      Inner Organs > Don Cherry & Inner Organs [12]
      Performs on the Great Stalacpipe Organ at Luray Caverns > Leland Sprinkle [15]
      Pine > Clickety & Clack [6]
      The Sound Museum > Ken Nordine [16]
      How To Check Your Own Turntable > DJ Cor Blimey [17]

      ~**~**~**~

      [1] "After the Heat" on Sky vinyl. The sky is nothing but
      bio-electrically charged Jello 1-2-3.

      [2] "Low Pressure" on Bip Hop <www.bip-hop.com>. Morning traffic jam
      jazz. Don't point that radar detector at my third eye buddy!

      [3] "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.

      [4] "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.

      [5] "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
      other musicians.

      [6] "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.

      [7] "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.

      [8] 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.

      [9] "Solar: Music Travelogue" on Multimood. Also includes O Yuki
      Conjugate, A Small Good Thing, Rapoon, among others.

      [10] "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.

      [11] "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.

      [12] 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.Š

      [13] 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.

      [14] Haircuts are not everything especially if you have a budget for
      good drugs and know how to laugh through the blue smoke.

      [15] "Site of Sound: Of Architecture and the Ear" on Errant Bodies,
      compiled by Brandon LaBelle.

      [16] "Word Jazz" Substance and voice for the ultimate in coolness and
      perhaps THE most defining audio voice Š

      [17] "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
      2003.

      ~^~^~^~

      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 -
      affordable concerts.

      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 toŠ 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
      bart plantenga
      Zeilstraat 23 / II
      1075 SB Amsterdam
      the Netherlands

      WTM PLAYLISTS
      o 1500 READERS-EYEBALL "LISTENERS" per WEEK*
      o "plus another few hundred when it hits the BSI list!" Ezra
      <info@...>
      o Old playlists archived at <http://www.wfmu.org/~bart/>
      o Recent selected Playlists [early stages] at
      http://www.romanapoli.com/black/wreckthismess.html
      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...

      __________________

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