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WRECKING Shadowy Ships & Metaphoric Titanics

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  • ninplant@xs4all.nl
    wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam Ethno-Illogical Psycho-Radiographies: #1000: Ship Symphony Shadow PTP in the ether: 88.3FM Where purity &
    Message 1 of 1 , Mar 15, 2008
      wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam

      Ethno-Illogical Psycho-Radiographies: #1000: Ship Symphony Shadow
      PTP in the ether: 88.3FM
      Where purity & puerility are synonymous
      streaming via internet:
      8 Januari 2008 // 17.00-19.00

      "I try not to reflect about WHAT I have done all these past years:
      'JESUS: By what devil I have been ridden...??'"
      o Cyrill Schlaepfer

      "I had only one thing on my mind - to get away from the suction. The
      band was still playing. I guess all of the band went down. They were
      playing 'Autumn' [Episcopal hymn]. I swam with all my might. I
      suppose I was 150 feet away when the Titanic, on her nose with her
      after quarter sticking up in the air, began to settle down slowly.
      The way the band kept playing was a noble thing."
      o Harold Bride, Titanic survivor, from "Sinking of the Titanic" liner notes

      Adieu Schiller > Cyrill Schlaepfer [1]
      Transition 1 > Cyrill Schlaepfer [1]
      Schiller's Leitmotiv > Cyrill Schlaepfer [1]
      Moby Dick > Cyrill Schlaepfer [1]
      Afloat > Liquidsphere [2]
      Abyssus > Cyrill Schlaepfer [1]
      Ambient flux > Cyrill Schlaepfer [1]
      DS Uri > Cyrill Schlaepfer [1]
      The Golden Boat > Keith Berry [3]
      DS Uri 6 > Cyrill Schlaepfer [1]
      Echoes > AC Hall [4]
      Schiff Ahoi mit der Gallia > Cyrill Schlaepfer [1]
      Ds Uri Lexikon 1-5 > Cyrill Schlaepfer [1]
      Auf Dampferfahrt > Cyrill Schlaepfer [1]
      Ds Uri Lexikon 6 > Cyrill Schlaepfer [1]
      Horse Latitudes > Doors [5]
      Kreuzen mit der Unterwalden > Cyrill Schlaepfer [1]
      Pier > John Oswald & M. Sabat [4]
      DS Uri 7-21 > Cyrill Schlaepfer [1]
      Steam Launch Victoria 33-7 > BBC Sound FX [6]
      DS Uri 27-30 > Cyrill Schlaepfer [1]
      Voice of the Boat > Johan van Kreij [7]
      DS Schiller Lexikon 35-41 > Cyrill Schlaepfer [1]
      + Pier en Oceaan > Kees Tazelaar [7]
      Ds Gallia Lexikon 51-57 > Cyrill Schlaepfer [1]
      Steamboat > Beachboys [9]
      Ds Gallia Lexikon 68 > Cyrill Schlaepfer [1]
      Hymn III > Gavin Bryars [8]
      DS Unterwalden > Cyrill Schlaepfer [1]
      Kreutzrichter > Cyrill Schlaepfer [1]
      Hymn IV (Aughton) > Gavin Bryars [8]
      Lost in Admiration > Cyrill Schlaepfer [1]
      Ruetli Hoerner > Cyrill Schlaepfer [1]
      Ds Uri Greiss > Cyrill Schlaepfer [1]
      Horse Latitudes > Doors [5]
      Kreuzen mit der Unterwalden Horse Latitudes > Doors [5]

      [1] "Die Waeldstatte" on CSR o Cyrill Schläpfer: Die Waldstätte (Lake
      Luzern) [Truetone / www.csr-records.ch] The secret audio lives of
      steamships and paddle steamers. Gargantuan project reminds me of the
      audio equivalent of Herzog's Fitzcarraldo film [4 CDs / 3 DVDs]. This
      came out as my favorite CD of 2007. An amazing effort.

      [2] "Liquidsphere" on Shambala <www.multimania.com/shambala>. The
      spiritual proximity of electronica and water is dangerously close -
      and porous.

      [3] "The Golden Boat" on Trente Oiseaux <keithberry.uk@...> <
      www.trenteoiseaux.com> KB is a sound manipulator out of London. He
      produces slow meditative minimalist electronic pieces like tectonic
      plates of sound shifting like a melting glacier.

      [4] "Harbor Symphony" on I'm not sure. This is one of those
      conceptual projects - this one taking place I think in Seattle
      somewhere, where the description of the project, the intentions read
      better than they sound. Includes composers such as John Oswald who
      composed pieces for tug boats and ships in the harbor during I am
      guessing an Independence Day celebration. I would say the performance
      lacked a certain engaging finesse. A mess in other words - with a few
      shorter exception.

      [5] "Strange Days" on Elektra vinyl 1967. Supposedly the first song
      [poem] Morrison wrote - in high school. It describes in graphic,
      dramatic detail what used to happen to sailing ships that entered the
      30-35 degree latitude area known for calm waters and almost no wind.
      Sailors would be forced to jettison horses overboard to lighten the
      ship's load and save on food. It is said that some of the song's
      horrific sounds were made by dropping a coke bottle into a garbage
      can, clacking coconut shells and people screaming in the background.
      [6] "BBC Sound Effects" BBC.

      [7] "His Master's Noise: The Institute of Sonology" on BV Haast
      <www.bvhaast.nl>. Highly recommended retro-glimpse at neglected
      pioneers of progressive conceptual electronica. Ligeti, Xenakis,
      Koenig, Tazelaar, Varese. Includes some water/boat-themed pieces.

      [8] "Sinking of the Titanic" on Point Music. An amazing record of the
      imagined orchestration that the musicians played as the ship went
      down. What it sounded like. I listened to this on repeat for entire
      days sometimes while writing this or that while living on the water
      in a squatted building standing on stilts in the IJ, a body of water
      on the northern edge of Amsterdam.


      Interview with Cyrill <cyrill@...>:

      CS: How are you? Did you have a decent start into 2008?
      Hopefully yes. For my part I did it playing the accordion in a
      cantina in Luzern... I guess ["Die Waeldstatte"] was just too much
      of a cargo for any consumer. I try not to reflect about WHAT I have
      done all these past years: "JESUS: By what devil I have been

      WTM: And the reviews?

      CS: I had some quite enthusiastic reviews in the press for being a
      "maniac" and having created a monster product. I really cannot
      complain about decent articles, but that "thing" has not yet proved
      to be something people want to buy. But we have to face reality:
      nobody spends money anymore to buy "soundcarriers", this was custom
      from the previous century.... At the moment all the articles in
      German are listed under:

      WTM: And the visuals for this 4-CD, 3-DVD boxset plus photos and liner notes!!?

      CS: As you know, adding pictures to the soundtrack was my desperate
      attempt to make the "thing" a little bit more accessible to an
      audience. So I was surprised and very pleased at being invited to
      present "The Waldstätte" last January as an "experimental music
      film" that opened the Swiss Filmfestival in Solothurn ... The
      feedbackfrom the festival: the festival audience LEFT the theatre
      [before the end of the film], BUT in a review in the flagship NZZs,
      the senior film critic applauded it as "the outstanding artistic
      contribution to the festival..." As you know, this is balsam for the
      soul, but does not pay the rent.

      WTM: People, general cinema-goers, etc. are always grumbling about
      the critics hating everything. But actually, it is often a critic who
      is MORE open to a new [non-Hollywood] film than general audiences who
      have taken on the identity of consumers, consumers of viewing product
      and thus view films as is expected of them as consumers.

      CS: As part of a music film evening, last week, I showed it as a
      single screening in 3 cinemas in Bern, Zurich and Luzern. The Zurich
      and Lucerne shows were sold out. So I haven't lost all my confidence
      in the future yet... I, indeed, underestimated the pure heaviness
      of the film [DVDs] and how much it demands of its listener/viewer. I
      get feedback from viewers such as: "overwhelming, deep-sea
      meditation, Swiss Darkness Video, pure shamanismus, psychedelic
      water ballet, unnecessary, too long, knocking out, left speechless

      WTM: Well, this is a massive project, a labor of love - 4 cds and 3
      dvds devoted to the steamboats and paddleboats that cross Lake
      Luzern filled with commuters and tourists, hikers, skiers and nature
      lovers. What possessed you to do this project of documenting the
      boats, the sounds they make?

      CS: At the beginning, it was simply the horns, the ship-pipes, which
      I love to hear; especially from far away, embedded in the natural
      echoes of the mountains, the sounds travelling on the plane and
      smooth surface of the water. These are among the familiar sounds [of
      my environment] for me like my mother tongue, church bells,
      cowbells, insects, birds, etc.... It's horrible to even think of not
      being able to hear these sounds anymore or being concealed by the
      generic noise of our pornographic civilization. That's why I
      recorded those sounds without the commuters and tourists, hikers,
      skiiers and nature lovers, because they mask or even eliminate its

      WTM: I know your family has a summer house there along beautiful Lake
      Luzern. Does the project, the recording of the steamboats, have
      something to do with your memories as a child? Did the sounds enter
      your consciousness over the years?

      CS: Sure, it is one of those important geographical places where
      these sounds have been burned into my brain forever.

      WTM: It took you a long time to realize this project. 9 years? What
      was the process for you? How did it get started? With field

      CS: 11 years! I started in 1996. It was never planned as some
      gigantic Moby Dick project. The initial idea was quite simple; a
      field recording, along the shore, when the last regular daily cruise
      ends on 31 October, the last hour before the ships go to sleep for
      the winter in the docks... Sometimes the captains do an unofficial
      horn-jam session (a little farewell concerto with steamboat
      whistles). But in 1996 it was raining, and there were loud cars and
      traffic noises; the recorded material was disappointing. The
      following years, I got more interested and decided to board when they
      went out for technical test cruises without passengers. That was when
      I got in deep and surgical with my microphones and I discovered the
      industrial beauty of the sound of old machines... machines that are
      still working after 100 years, having sailed for up to 2 million

      WTM: After you had gather a number of field recordings of the sounds
      of the boats, what did you think about it? Did you notice the
      different sounds that each boat makes? That they have their own

      CS: Indeed, every ship has its characteristic acoustic fingerprint,
      its own character. My personal discovery of doing this work was:
      material with a history has a soul, or its being charged with
      something called " .... ", (this dos not include plastic though).
      That was the point I decided to make, by composing a musical piece,
      since I thought it was worth presenting to someone.

      WTM: I notice that one CD is comprised of what I would call
      symphonies and so do you, in fact. They sound like compositions. How
      much did you manipulate the actual sound, the sampling/repetition of
      sound or enhancement or alter them with effects?

      CS: For the symphony, I used exclusively sounds from the ships
      (whistles, horns, metal, machines...) and water and natural ambience
      (birds, winds, thunder, rain, etc.). I only pitched the sounds
      lower, trying to harmonize or find the harmony in correlation with
      what was going on before or after. Besides that, I did a lot of
      cutting and editing, (18,000 cuts in the symphony) and I reversed
      some of the sound. But there is absolutely no addition of electronic
      synthesizer sound, or effects like reverb, filtering or any of those
      sound-producer gadgets or enhancers.

      WTM: What are the symphonies on CD1 [Symphonies] for you?

      CS: I don't know yet. If or when I find a resonance, and find an
      audience that would like to hear it or even hear it twice; it is only
      then that I would begin to call it "music".

      WTM: the 2nd CD seems to be a document of one trip, all of the sonic
      / audio details and visual details. How does that differ from CD1 in
      composition? Is it more integral and less composed?

      CS: Exactly, CD2 is composed only of natural sounds, no acoustic
      morphing applied here. Still, I consider it a "composition" since you
      will not find such pure and unadultered sound in nature. By which I
      mean: there is always acoustic pollution like planes, cars,
      tourists, cash-machines, farts, crunching french-fries, microwave
      ovens, cellular phones....

      WTM: I appreciate that as a listener but I also like the intrusions.
      There are some on your other ambient [meadow/cowbell] series.
      Gunshots, thunder, a plane overheadŠ Meanwhile, CD3 is comprised of
      acoustic portraits of 5 or 6 different steamboats and here we get to
      hear your interest in their characters and personalities as
      distinguished from one another.Tthey each create their own atmosphere
      and have their own audio fingerprints.

      CS: Exactly, no audio frauds here, all authentic, not a single
      frequency from another ship mixed together.

      WTM: CD4 you call the "lexicon" and reminds me of the [especially
      the BBC] sound effects records. Here we have the individual traits
      and aspects of each of the boats presented. Like a personality
      chart. Why did you feel this was necessary?

      CS: Yes, here my thought was: This specific CD is going to be my
      financial safety-vest... I had the abstruse idea, that all the steam
      boat freaks, the ship model builders, the museums will buy a CD with
      a listed sound/samples archive of their favorite ships.... This is an
      error on my part: I can not sell this CD neither.

      WTM: I understand that as an artist or maker of documentaries you
      would like to capture all of this on a personal level. But on a
      historical / environmental level, is it because these sounds are
      disappearing, because these boats are being replaced? What do you
      hope to accomplish with this box set? [how many did you make by the

      CS: This is exactly the question which burns painfully in my
      consciousness and unconscious thoughts: Why? goddamned WHY? I have no
      answer here. This leaves me somehow disillusioned and depressed.
      Again, I refer to the quote already cited: "By what devil have I been
      ridden..." I will read Melville's Moby Dick again to find out.... At
      any rate; I WILL NOT consult a shrink. Generally speaking, I became
      a musician because of the girls.

      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 in a seance with reflection WAS on Radio Patapoe on
      Sundays 17.00-18.00 Amsterdam time

      o C2000: Whatever Whenever or aka yo momma, electropulp metal, we
      hate hippies, hardcore jumpstylemetal, hiphopmetal,
      punk-industrialmetal and meta-metal Mondays 20.30-22.30

      o Psycehdelicatessen: obscure underground progressivica Sunday 20-24.

      o De Oktoskoop: Kinderen /kid /children /rugrats and other
      visionaries. Sat. 11.30-13.30

      o No8ody: unformated*core, vr/ijly/stile*maz*up*zumbi*drones Saturdays 14-16.

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

      o H=Bass: Klas-zeike Herrie [classic-sickness noise] Sunday 14-17

      o Gelul met Krul: Bullshitting on the radio with intriguing guests
      Saturday 20-22

      o Stront [Shit]: noise, lo-fi experimenting Wednesday 18-22

      o HET PROGRAMMA: industrial lounge for collapsing people. Tuesdays 21:00

      o Radio Cognito: Mind & Existence Problems Thurs 18-20


      * Wreck This Mess-Paris @ Radio Libertaire, Paris 89.4 hosted by
      Laurent Diouf 1/2 PanouPanou on Tuesdays 12:30-14:30 check
      * Black Sifichi / Audiometric radio check <http://www.blacksifichi.com>

      Send all sound material for airplay and review to:
      Wreck This MeSS
      Radio Patapoe
      bart plantenga
      Dina Appeldoornstraat 11-3
      1076 AX Amsterdam
      the Netherlands

      with profiles, yodeling, john cage, allen ginsberg, beer mysticism,
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