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WRECK: Dutch Dilemma

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  • ninplant@xs4all.nl
    wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam Ethno-Illogical Psycho-Radiographies: 309: Dutch Dilemma: Fuchs & Loevendie PTP in the ether: 88.3FM Where
    Message 1 of 1 , Nov 17, 2005
      wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam

      Ethno-Illogical Psycho-Radiographies: 309: Dutch Dilemma: Fuchs & Loevendie

      PTP in the ether: 88.3FM
      Where purity & puerility are synonymous
      streaming via internet:

      24 Oktober 2005 / 17.00-19.00

      "The garbageman is at the door, tell him we don't need any."
      o The Ex, "Theme from Konono"

      "I used to be at least nominally proud of being Dutch - at least not
      fully ashamed - kind of a mixed-message combination of disagreeing
      with both those who overrate Holland and those who are always
      blanketly bad-mouthing everything Dutch as being the most effective
      tool of the devil [the Dutch have a high percentage of people who
      complain about their own kind, especially those who complain about
      how much the Dutch complain]. Everything Dutch as a sign of a larger
      malaiseŠ This has always been my reaction to the places I am
      passionate about inc. NY and Paris... I am still languishing
      somewhere in between but lately it has become almost impossible to
      criticize other regimes when the one we have is not even funny
      anymore in its bungling because it is so self-delusionally fatal
      [Ministers Verdonk, Kamp, Donner - the unfunny 3 Stooges] that would
      have even Groucho Marx in Duck Soup's Freedonia crying without irony.
      I am wondering whether we have enough moral and technical resources
      to prevent the total undermining of a somewhat conditionally but
      admirable lifestyle by the present organized-crime-cabinet."
      o me


      Intro 3 PM > Junkie XL [1]
      Timboektoe > Theo Loevendie meets Kristina Fuchs Sonic Unit [2]
      Ascension > Tetuzi Akiyama vs Jozef van Wissem [3]
      + January 94 [Margriet Hoenderdos] > Arnold Marinissen [4]
      Bayram > Theo Loevendie meets Kristina Fuchs Sonic Unit [2]
      Intro 3 AM / Chilled > Junkie XL [1]
      Orlando > Theo Loevendie meets Kristina Fuchs Sonic Unit [2]
      Invenzione su una Voce > Bruno Maderna vs Cathy Berberian [5]
      + Mystification > Tetuzi Akiyama [6]
      Camel Ride > Theo Loevendie meets Kristina Fuchs Sonic Unit [2]
      Invenzione su una Voce > Bruno Maderna vs Cathy Berberian [5]
      Adana Express > Theo Loevendie meets Kristina Fuchs Sonic Unit [2]
      The Sound of Music > Kristina Fuchs [7]
      Echo Anita > Olga Lowina [8]
      Johnny Had die Jodel nog eens te Horen > de Hillbillies [9]
      Cornemuse > Theo Loevendie meets Kristina Fuchs Sonic Unit [2]
      Love Missile F1-11 > Sigue Sigue Sputnik [10]
      Tui Tui Tui > Neung Phack [11]
      Roadsong > Theo Loevendie meets Kristina Fuchs Sonic Unit [2]
      JXL Radio Technical Support > Junkie XL [1]
      Naima Suite > Theo Loevendie [12]
      Huriyet > The Ex [13]
      Oo-Whee!! Hindewe > Leon Thomas [14]
      Damn Nam (I Ain't Going to Vietnam) > Leon Thomas [14]
      Well > NouRa vs Interplay [15]


      [1] "Radio JXL - Broadcast from the Computer Hell Cabin" on
      Roadrunner <www.roadrunnerrecords.com>. An electronic wizard and
      style chameleon who has become TOO damn enamored of pop and its
      various questionable idols to listen to in awe any more.

      [2] "Bayram: Theo Loevendie meets Kristina Fuchs Sonic Unit" on
      TryTone <www.trytone.org>. This is a wonderful fusion of the fluid
      joyous playing of Loevendie, old jazz aficionado and Fuchs, new jazz
      singing sensation. The band is also top-notch. Let me tell you why.
      The seem to have an intuitive ear for one another - KF and TL. They
      are able to blend hifalutin concept with playfulness in a way that
      reminds me of Shelley Hirsch, of Ann Magnuson, of Astrud Gilberto -
      casual yet not ragged and sloppy and precise without being anal and
      dull. There is an almost seamless flow of inspiration and influence
      from almost every genre and continent to Zap Mama acapella via
      Central Africa to Weather Report or electric Miles Davis, to
      snakecharmer flute, to exotic oriental textures to cabaret, to sultry
      lounge jazz vocals of some entre deux guerres dissipation and world
      weariness, to Anita O'Day like vocal vivacity that doesn't rule out
      some nods to the likes of vocalists like Meredith Monk and Sheila
      Chandra. On "Finch Eye" KF sounds possessed as she undergoes a vocal
      exorcism where everything that lies in the naughty vocal sector of
      her brain is forced out through her vocal cords leaving her
      epiglottis flapping like an awning in a hurricane. The song is a
      version of his most famous composition which was written as ode to a
      very influential Dutch personality and dynamic beatnik poet, Simon
      Vinkenoog. TL is dapper and charming as arranger, composer,
      saxophonist [a genius without arrogance] and KF is really a voice to
      be reckoned with - bluster, valve, creative meanderings, speculation,
      teasing, and even some Š dare I even say it [and your already feeling
      some trepidation - oh, no] yodeling. Check them out on CD or live. An
      Amsterdam moment: in the Bimhuis, part of the new Muziekgebouw, a
      concert hall that combines the legendary [but scruffy] Bimhuis with
      the legendary [but oft pretentious] Ijsbreker in a triumph of
      architecture, planning, grandeur and acostics. The new bimhuis
      looksfeels surprisingly and relievedly like the old one: great
      acoustics and informal and human-scale charm. Anyway, I am finding
      myself there often - in part because of the people I feature on my
      show which often play here [Erika Stucky, Shelley Hirsch, Jozef van
      Wissem, Gary LucasŠ]. Anyway, beers are reasonable, the food
      sparkling and affordable and sophsticated without all of the
      downsides: haut pretension, holy attitude, and other afflictionsŠ The
      Bimhuis, a big glass, metal, wooden cube attached to the larger
      concert hall structure has a breathtaking view of a dynamic [busy,
      harried, lively] cosmopolitan night horizon urbanscape overlooking
      train tracks with lit trains wooshing past and the green-tarnish
      whale-like NEMO science museum rising out of the water in the near
      distance. Most performers prefer to NOT compete with this backdrop
      and close the heavy curtains [Van Wissem kept them open and even
      miked the outdoors and then jammed with the surroundings]. Yes,
      tonight the heavy dark velvet curtains are pulled shut. And after a
      set of fecund world jazz with lots of meanderings into satisfying -
      even meditative - cul de sacs or being laid out on a railtrack [OK,
      just one last calvados, then] to increase the aural tension, the
      resolution is the listener is saved and rewarded with a cornucopia of
      world sounds. Some admirable solos, playful, not indulgent, lithe and
      not strident, not by the book. One encore, another. The audience
      really has warmed up to this ensemble. Some KF fans probably wary of
      the old man, while some old-time TL fans are weary of this young
      interloper. Not by the end - and they come out for one more encore.
      But first a preface: KF was contacted [via sonic-amalgamator Justin
      Bennett] by a crazy guy who had heard she yodeled. She was Swiss
      [half] but no, she did not yodel. Or did not think she did or ever
      needed toŠ Until I contacted her to appear on a late-night variety
      show, one of the most popular on TV, Vara-Laat. A late-night
      talk-variety show. Being adventurous and flexible, she agreed and
      appeared in a wonderfully kitschy children's tv show type Alpine set
      - mountains, pasture, farm, cow. And during my interview relievedly
      short and to the point, she was called upon to yodel. OK, pretty
      standard. Then she appeared again at my Dutch launch of my yodel book
      in the American Book Center both events in January of 2004. Ok, all
      is wellŠ At some point - don't know the full details - she was put
      into contact with TL, who got wind somehow of the fact that she may
      be a yodeler. During their first conversation he asked her something
      like "I hear you yodel. Let me hear it right now on the phone." With
      that in mind, TL wrote a piece that makes allusion to yodeling and KF
      interprets it in a manner where the yodeling seems to be there,
      alluded to, whispered, blended into other stylingsŠ "Cornemuse" is
      definitely about yodeling and TL's attempt to deal with the challenge
      of writing something that has yodeling elements in it. So, a terrible
      surprise to be well luckily not plucked out of the audience like
      Vinkenoog was to be given an honorary copy of the CD but a pleasant
      surprise that made the grueling moist bike ride home a pleasure of
      speculation, dream, musingŠ

      [3] "Proletarian Drift" on BVHaast < www.bvhaast.nl >. Not as
      engaging as his work with Gary Lucas which really had some thump and
      kinetics. The two create a dynamic where they seem to be exploring
      corners of sound and the tension between inordinate amounts of
      [un]acceptable silence. It is as if they are using their musical
      instruments as dust mops to discover interesting balls of latent
      noise and sound lost behind the furniture of our prejudices.

      [4] "Layered Rhythms" on BVHaast < www.bvhaast.nl >. AM critically
      and in a refreshing and percussively dynamic manner engages new
      post-classical and avant garde [big A big G] works with his lively
      thumping and banging. Hoenderdos's composition is "exquisitely
      simple" involving 2 timpani tuned to same pitch. Sounds are activated
      via 5 sound generators: felt, rubber, wood, hands, and fingers. These
      5 are expressed in 5 articulations: staccato attacsk, attack with and
      without resonance, straightline or circular stroking. Despite the
      technical blabla, this produces an exquisite composition. AM also
      interprets Xenakis, Elloit Carter, and others.

      [5] "Acousmatrix-History of Electronic Music VII" on
      BVHaast<www.bvhaast.nl>. Luciano Berio and Bruno Maderna + Cathery
      Berberian [Berio's wife] adds up to an inspired retro-gaze into
      inspired electro-acousmatic and vocal interpretations of Joyce's
      "Ulysses". Hardly an easy task. Berberian also is rumored to employ
      yodel-like vocalizations. Recommended!

      [6] "Pre-Existence" on Locust <www.locustmusic.com>. Met him on a
      nice evening with Jozef van Wissem at the new spectacular
      Muziekgebouw on the river Ij for the world premier of the Willem
      Breuker soundtrack to Murnau's Faust. Had a nice conversation about
      his guitar and sound influences. Blues - both white and black and
      this is his latest, a stark homage or interpretation of the blues by
      someone who seems to play from the ninth ring around Saturn for an
      audience just released from a William Gibson plot on their way to a
      zen archery course. Blues plus zen archery. Waiting and waiting and
      waiting for that next blue train to come down tracks that don't
      exist. Weird.

      [7] "Whence & Wither" on EWM <www.ewm-music.com>
      <info@...>. Working in a modern way with what she may have
      gathered from Anita O'Day, Blossom Dearie, Carmen McCrae and June
      London as well as some passes at Astrid Gilberto, she surpasses them
      all in the breadth of her fun yet enchanting repertoire plus she
      manages to evoke the glories of mountainous terrain in a jazzy way. I
      met her through soundmaker Justin Bennett and she did a great job of
      yodeling at the Amsterdam book launch of my Yodel-Ay-Ee-Oooo. Then
      also handled the yodeling on my appearance on the - surprising to me
      - popular late night talk/variety show on Dutch TV called
      "Vara-Laat". KF has received accolades we thought could only be
      applied to Diane Kral. She is every bit her equal. Her material grows
      on me like goosebumps on an excited backbone.

      [8] "Het Beste van Olga Lowina" on Telstar, 1995. She is to yodeling
      what Margaret Thatcher was to humane politics, what Joanie Weston was
      to roller derby, what Courtney Love is to civilityŠ

      [9] Off the new Johnny Hoes box set. A man that combines Colonel Tom
      Parker and Phil Spector with a bit of Hank Snow. You get an
      influential sonofabitch in Lowlands popular music for 50 years.
      Dealing and stealing, writing and rewriting, and cross-pollinating
      genres in a mind-boggling combo of enlightened bad taste. Had the
      gift of kitsch and played nostalgic musics as if they were avant
      garde. Here he yodels on a fake-hillbilly number. Replication of
      sometimes stunning virtuality.

      [10] Going to the moon and back with the NY Dolls favorite costumes
      and tropes. "ultra-violence in Japan" goes one line. Deserved more

      [11] Courtesy of Jonges v/d Vlakte. Haven't the foggiest. But it
      sounds enchanting.

      [12] "Orbita; Incantations; Naima SuiteŠ" on Usa, 2004. TL has always
      preferred intuition to music theory dogma. He is one of the most
      highly regarded Dutch new music composers alive today anywhere but is
      less known than say Louis Andriessen. He has charm that is steeped in
      a child-like love for music. He has recently returned to playing his
      beloved jazz, something that made him a pop phenomenon in the 60s
      when he had a hit with "In A Finch's Eye" an oblique pun and ode to
      Dutch beat poet Simon Vinkenoog. I once edited a dense and thick
      compendium called 100 Dutch Composers [Amsterdam University Press], a
      must-have for all those interested in music outside the Anglo-realm.
      I now excerpt from his entry: Theo Loevendie, Amsterdam, 7 September
      1930: A late developer, Theo Loevendie enrolled in the conservatory
      in Amsterdam at the age of twenty-five, where he studied clarinet and
      composition. Loevendie began his musical career as a jazz clarinetist
      and saxophonist. He worked for several months in Turkey during the
      1950s, and in the 1960s, he composed and arranged for the Boy Edgar's
      band. He performed with Edgar's ensembles at various international
      festivals. In 1961, Loevendie composed his first 'serious' piece, the
      String Quartet. Eight years later he composed his first commissioned
      piece, Scaramuccia. According to him, it was because of his lack of
      affinity with the musical avant-garde of the 1950s that he began
      composing later in life. He missed the spontaneity and
      unpredictability of jazz in this type of music and he considered
      serialism 'an excess of the rationalistic'. Still, over the years he
      has increasingly employed a wide variety of compositional methods,
      albeit ones that leaves the composer with a lot of freedom while
      requiring some type of improvisation. To the eye, Loevendie's music
      [appears] finely constructed, while it sounds playful and surprising.
      His first large-scale compositions, written in the late 1960s and
      early 1970s, are pieces for soloist and orchestra: Scaramuccia,
      Orbits, and IncantationsŠ. Loevendie often writes for jazz
      instruments and plucked-string instruments, the latter finding
      expression in De Nachtegaal [The Nightingale], Six Turkish Folk
      Poems, and Back Bay Bicinium. The remarkable combination of bass
      clarinet, mandolin, guitar, violin, and percussion used in Venus and
      Adonis (music for a theatrical arrangement of Shakespeare's poem) is
      a reference to the consort music of Shakespeare's day while also
      suggesting a Turkish-sounding heterophony. It is his only composition
      in which the cullings of non-Western folk music are obvious. The
      performance of this work, in 1980, led to the founding of the Nieuw
      Ensemble, which in turn has inspired many Dutch and foreign composers
      to write for these unusual forces. The tension between freedom and
      order is also the theme of Naima (1985), Loevendie's first opera. The
      woman, Naima, leaves the inflexible 'Instituut' (the rulers) and
      joins a group of roving musicians, among them Hunchback, who marries
      Naima and gets her pregnant. Her child, Amian, later rises to power,
      slays the old ruler, and becomes equally tyrannical. Naima and the
      musicians refuse to follow Amian and leave. In Naima, Loevendie
      incorporates elements of Western operatic tradition, borrowed in
      particular from Verdi (Otello) and Handel. Stylistically, it is much
      like his earlier work. Here too he employs ostinatos, repeating tones
      and ornamented melodies, and he even integrates one of his earlier
      pieces, Timbuktu (1969), in the work for the roving musicians. His
      earlier vocal and instrumental compositions, such as De Nachtegaal
      and Six Turkish Folk Poems, seem in retrospect to have a theatrical
      character, and more of this was to follow. Although Loevendie is
      primarily a composer, he is still active in musical performance. In
      the 1970s, he organized the STAMP concerts of the Foundation
      Alternative Music Practice. These were informal, small 'happenings'
      on Sunday afternoons in Amsterdam's Shaffy Theatre in which various
      genres were presented alongside one another. These concerts laid the
      foundation for the present ensemble culture in the Netherlands. From
      1983 to 1987, Loevendie was chairman of the Society of Dutch
      Composers. He currently teaches composition in the Netherlands and
      abroad and continues to perform as an improviser." [Emanuel Overbeeke]

      [13] "Turn" on Ex Records <ex@...>. If you have missed the Ex
      for the past 25 years then here is your chance to redeem yourself
      somewhat. Arguably the best [and most stunningly adventurous think
      Pere Ubu and Pop Group and Red Krayola] punk band in the world today
      because they have never betrayed their anarcho and squatter roots and
      because they refused to be typecast as merely punk by evolving into a
      much better punk-jazz ensemble than say the Minutemen and are able to
      fuse global music and work with jazz geniuses like percussionist
      extraordinaire Han Bennink without losing their characteristic soundŠ

      [14] "Leon Thomas in Berlin" BMG/Bluebird <www.bluebirdjazz.com>
      rerelease. Excellent example of Thomas' energy, working here with
      Oliver Nelson and brilliantly yodeling his head off. Incredible
      channeling of Pygmy spirit voices that come in loud and clear over
      the transmitter implanted in the late Leon Thomas's soul. If you want
      to hear the future of vocals you're gonna have to go back to 1969
      here. The yodeling is nothing short of mind-boggling [I assume you
      still have one to boggle].

      [15] "Mama Kangaroos" on Genus <www.genusrecords.com>. There are some
      killer trax on here - I played them on my Beefheart vs women[s] show.
      All in all a lively selection/collection of covers of the old master
      of enlightened metamystical post-dada abstract gravel poesie. This
      NouRa vs Interplay track and the one by Jane Gilday are the
      outstanding cuts. This from producer Michael Villers
      <mikevillers@...> who sent a long and illuminating reply
      to my playlist: "a couple of things first... NouRa was deported from
      the US the day after recording her track; it was right after 9/11,
      and they were cracking down on anyone with visa violations...
      Interplay was a band of free jazz guys (who have played with the
      likes of Sun Ra and other jazz luminaries) that are based in Philly.
      NouRa is back in England, where she has new musical associates and
      has released her first record, "Slut Rock."

      o The world seems to be in some flux - like someone reaching to flush
      the toilet. The newspapers seem especially full of turmoil. It just
      seems to be more "universal" - everywhere you look. There does seem
      to be a breakdown of civility on some level. As the world grows more
      and more competitive, the subtle, gentle, zen-like, slower aspects of
      society and culture seem to suffer. In yr face-ness, loud, brash and
      aggressive seem to have assumed a certain level of triumphant
      ascendancy. This is not due like the conservatives and idiot
      moralists on the right would have it: due to a break down of morality
      by liberalization of mores and a breakdown of traditionsŠ Anyway, why
      go on with this analysis? At this point suffice it to say with the
      shooting death of political activist Louis Séveke in Nijmegen this
      week and the contract assassinations of 2 real estate mobster/moguls
      on respectable streets in Amsterdam gives the impression of a
      hardening of the everyday reality of life. This may be in part true
      due to this austerity government where lack of creativity and
      humanity is masked by their "refreshing" bluntness and "courageous"
      approach to grave issues facing a "welfare" state. Their basic
      approach has been to burn one's bridges and then try to wade across a
      treacherous flooding riverŠ the recent events around airport Schiphol
      with the fire at a detention center for illegal aliens that killed
      some dozen innocent [at least not-yet proven guilty of anything]
      foreigners and the government's reaction plus its collusion in
      following [despite the fact that the people do not want this] the
      American model for Darwinian privatization that will only make life
      harder for a good section of the population. Health care, housing,
      education - more and more of these central areas are being pillaged
      by the promoters of privatization leading to exactly what the people
      have always said they didn't want: the gap between rich and poor to
      widen, to have people on the streets suffering from their only crime,
      that of being poor, the dismantling of the very social welfare state
      system they spent decades building up until it was a proud model
      [with huge defects] for the rest of the world. Holland's people used
      to be among the happiest in the world and nowŠ You would think the
      polite-radical opposition in government [Worker's Party, Socialists,
      and green-Left] would be calling for a dissolution of this cabinet
      with a no-confidence vote after all the bungling - and one detail,
      NL's participation in the Iraq War, with its blind lapdog following
      of the US/UK and its belief in the lies that Blair and Bush told that
      are now bared in the infamous "Downing Street Memo" SHOULD be enough
      fuel to declare a no-confidence vote and a call for new electionsŠ
      ButŠ the Dutch like the rest of the Western world is suffering the
      malaise of expert advisers, committees and commissions that advise
      [and allow government to delegate] have left most of the governing
      crew unable to effectively govern because of their [chickenshit]
      beholdenness to paid consultantsŠ the disappearance of effective
      democracy in special interest consultancy [in US: lobbyists and think
      tanks] is pretty much corroborated in a recent Green-Left book on the

      o And yet, I like so many others, manage to find respite in the joy
      still found in creative acts and productionsŠ We all build our own
      huts and hideouts of questionable and perhaps even dangerously
      flammable materials toŠ survive. Yeah, ok.

      Notes on other Patapoe audionauts & nuts:
      o Jonges v/d Vlakte [Boys from the Plains]: "De cottonpickin' Jongens
      van de cottonpickin' Vlakte" play a piquant, illuminating, and
      playfully irritating mix of faulty music, of near-misses, of obscure
      failures, of world music that is not from this world 19.00-20.30
      [Dutch time, subtract 1 hr for UK, subtract 6 hrs for US East Coast]
      Mondays @ PTP

      o Dr. Doo Wop is one of the most eccentric and stimulating radio
      shows anywhere. Sartre, DeSade, Doo Wop and music from the gonads.
      Now on Radio Patapoe on Sunday 17.00-18.00 Amsterdam time

      o Radio Antarctica is in temporary exile in the UK. Expect periodic
      patriotic broadcasts to rouse the troops on the mainland.

      o Rara Runnynose: "wonky-tonk, flop'n'roll, kids musique and
      infomercials live in a haunted house. tech? NO!" 17.00-19.00 Tuesdays

      o POLYPHAKE PLAPPERLAPAPP: "polyphone audioerosion featuring
      occasional beatweirdniks in an plaperlappap assemblage hosted by
      F.Fiasko 22:30-?? Wednesdays

      o Radio Worm: Rotterdam-based radio collective presents inventive
      programming to baffle all preconceptions. Midnight Sundays and in
      autopilot rotation.

      o HET PROGRAMMA: industrial lounge for collapsing people. Tuesdays 21:00
      * new home of Amsterdam's Radio Vrije Keyser: 89.6 FM
      * Radio Tonka, The Hague's 10-year-old free radio <www.radiotonka.nl/>
      * Radio Wanklank 90.9 FM, free radio in Wageningen <www.wanklank.nl>
      * Radio Libertaire, Paris 89.3 <http://dune2.info:5000/radiolib.m3u>
      * Black Sifichi / Audiometric is broadcast on :
      Aligre FM / 93.1 Paris (sat 22.30 - sun 7:00) http://www.aligrefm.org
      Eko Des Garrigues 88.5 FM Montpellier ( 19h - 22h)
      RTF 95.4 FM Limoges (wed 21h-23h) http://www.rtflimoges.com)

      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

      o Old playlists archived at <http://www.wfmu.org/~bart/
      o Selected Playlists at http://www.romanapoli.com/black/wreckthismess.html
      o Someday: <http://wreckthismess.com/>
      o Check out NEW excerpts from my erotic-dérive novel: Paris Sex Tete
      on Parisiana <http://www.parisiana.com/>


      CONTACT ninplant@... FOR REMOVAL

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