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undRess_Beton on 12/31/2016 at 12:04PM

Final Classwar Karaoke Survey released!

Classwar Karaoke was, is and will be. When it was, it was centrally a series of large-scale quarterly surveys of music and film, published each February, May, August and November, from May 2008, until a final grand 34th iteration at the very close of 2016. This vast repository ranges over outlets such as Free Music Archive, YouTube and Internet Archive, with fragments and remnants dotted around the now effectively defunct or forgotten MySpace, Sonic Squirrel, Reverbnation and LastFM, with total hits running into the many millions, and still growing - always free to download, stream and view. 


At its peak, there was nothing like it anywhere on the Internet. Classwar Karaoke stands as unique and valuable intense and intimate documentation of an expansive international scene, experimental and progressive in outlook, comprised of such genres as Noise, Live Electronics, Spoken Word, Sound Poetry, Free Jazz, Improvisation, Industrial, Ambient, Soundart, Musique Concrete and Modern Classical, as well as environs further out, nameless and ever more difficult to define. Classwar Karaoke's trademark inclusive, light-touch curatorial policy meant that those participants having huge and long-standing reputations lay equally alongside others less well-known and less experienced; with everyone arranged alphabetically, with no headline acts, no also-rans, no differentiation. With this in mind, though, it is expedient now, at this juncture, to note the participation of names such as Bob Ostertag, Fred Frith and Rhys Chatham .... of ex-King Crimson luminaries, such as Adrian Belew, Keith Tippett and Michael Giles .... stars of the human-voice-as-instrument such as Jaap Blonk, Bryan Lewis Saunders, Adam Bohman, Phil Minton, Crank Sturgeon and Dylan Nyoukis .... of heavyweight Jazzers and Free Jazzers like Lol Coxhill, Peter Brotzman, Evan Parker and Elton Dean .... of ex-Zappa percussionist Terry Bozzio .... of ex-Henry Cow Geoff Leigh .... of Einsturzende Neubauten's Jochen Arbeit .... of The Three Johns' John Hyatt .... of Wolf Eyes' Nate Young .... of Volcano the Bear's Aaron Moore .... of artists and bands as great and varied as Otomo Yoshihide, Mark Dresser, Leif Elggren, Leafcutter John, Gerd Bressler, GX Jupitter-Larsen, Zoviet France, Pas Musique, Gino Robair, Steve Beresford, Sharon Gal, Anton Mobin, Graham Dunning and Astral Social Club. 


The roll-call is considerable, in fact - and goes way beyond this brief selection; earning the project its rightful presence within the wider scene. Indeed, single or mere minor degrees of separation connect Classwar Karaoke directly to everyone from towering figures such as David Bowie, Scott Walker, La Monte Young, Frank Zappa, John Zorn, Robert Ashley, Paul Simon, Robert Wyatt, Meredith Monk, Pauline Oliveros, Laurie Anderson, Mike Oldfield and Tom Waits, to bands like Talking Heads, Faust, Henry Cow, Can, The Fall, Teenage Jesus and the Jerks, Sonic Youth, Tortoise, Godspeed You! Black Emperor, H¸sker D¸, The Brecker Brothers, UK and Nine Inch Nails, to Jazz giants like Chet Baker, John Abercrombie, John Scofield, Stan Getz, Dizzy Gillespie, Herbie Hancock and Andy Sheppard, to those from the orchestral world such as Steve Reich, Philip Glass, Glenn Gould and The Kronos Quartet, through to figures as diverse as Vic Reeves, Zeena Parkins, Tony Conrad, Morton Subotnick, Robert Longo, Glenn Branca, David Torn, Mick Karn, Tony Levin, Steve Vai, Allan Holdsworth, John Duncan, Ryuichi Sakamoto, Jon Hiseman, Phil Collins, Jeff Beck, David Toop and Hans Reichel. 


Classwar was never about mainstream validations, however. These surveys are themselves more exactly characterised by extensive, often complex collaboration; each survey a metting-place; each survey a font of new possible associations, friendships, project-mates. Camaraderie and inclusivity defined this project. Nothing about it reproduced the devisive logic and nepotism of the mainstream. In fact, opposition was inferred and expressions of it doggedly pusued. We are Classwar Karaoke: take us at our word.  


In this way, though its surveys are now suspended, Classwar Karaoke is. Indeed, other aspects of activity under that rubric persist as an ongoing series of live events and mini-festivals and a sprawling crowdfunder initiative currently boasting 46 full-length albums, featuring the likes of ÿystein J¯rgensen, Lezet, PARAL-LEL, Jukka Pekka-Kervinen, Stomhat, Dental Dames, Daniel Heikalo, Spidey Agutter, Jaan Patterson, Paul Mimlitsch, {AN} Eel, Damien Olsen, Ronny Wearns, Subversive Intentions, LIL, Sound Inhaler, Cousin Silas, Crush!!!, Chris Silver T, Miguel A. Garcia & Sebastien Branche, Jeremy Gluck, Eun-Jung & Charlie Collins, Arthur Henry Fork, Berthelot and Fiver's Stereo, as well as several compilations, of Noise, guitar pieces, bass solos, percussion pieces, and more. 


About 0034 survey specifically, it is enough to say that this final release is clearly no skirmish, no fizzle-out .... it is, in point of fact, another beautiful monster, dense with love, camaraderie and content, full of daring, full of interest; as good as anything else out there. From your hosts, Anthony Donovan and Jaan Patterson, dear friends of Classwar Karaoke, please enjoy! 


Heartfelt thanks and admirations to everyone who has taken part in and supported this project. over its eight-and-a-half years. It's been such a wonderful and interesting adventure! 


Love & best, 

Anthony Donovan and Jaan Patterson

December 2016

*** *** *** *** ***


The stars of 0034 survey, they are these .... 


[0.11487: An unknown quantity


[BOX]: [...] 


{AN} Eel: [...] 


Alan McLean and Goh Lee Kwang: / / from Metamorphose (2009) (15:14) / Electronic, Experimental, Microtonal, Improvised, Collaboration, Avant-Garde, Electric Guitar / This is a live performance of a section of an unrecorded piece 'Metamorphose' devised by Alan Mclean (guitar) and Goh Lee Kwang (no input mixer). From the notes for this performance: Lee Kwang grew up in Penang, Malaysia and studied visual art at the Malaysian Institute of Art in Kuala Lumpur. His sound work includes sample-based pieces and installations. He adopted the stereo mixer with feedback loop as his main instrument in 2004 and performed extensively across western Europe. In part, this was possible thanks to the Akademie Schloss Solitude Fellowship, Klangraum Fellowship, and the K¸nstlerh‰user Worpswede Fellowship. Alan studied Philosophy in his native Scotland and started playing electric guitar two years ago. On this occasion, the duo use visual art as a focus for their sound work and as a source of compositional structure. The music takes its name from a print by the Dutch graphic artist M. C. Escher. Part devised, part improvisation, it exploits the sound possibilities of electronic feedback and simple guitar pedals. Additional notes by Alan McLean: Lee Kwang's instrument was a mixing board, no input. The output was looped back into the input, which usually generates a deafening monotone but he can extract an impressive range of sounds from it. More than that, he can produce two or three at the same time, maybe bird-like tweets and an undulating near-subsonic growl. Reaching this level of virtuosity took many years. The guitar work had sculptural aspects. Long slow tones from the guitar fed an echo pedal that alternated sound from speaker to speaker, but played it backwards at every bounce. The phase changes in the sound, often a stable frequency, made each note crisscross its reversed waveform. This created three dimensional sound objects in the stereo sound stage. Live, they were huge, stable, room-filling forms. For example, in the first 45 seconds, the guitar played solo, using a volume pedal to swell into each note. The sound was built with the fundamental being sounded, then octaves above and below, then a little bit of a fifth. Drawing on Giacinto Scelsi's works for string orchestras, darker timbres came from bending strings, producing tones just a little above and below the fundamental - often resulting in the 'beats' familiar to guitarists from the tuning-up process. The result was heard as a huge horizontal disc of rotating sound. Lee Kwang often separated his sound from the guitar work by using extreme frequencies, both above and below the guitar's middle range. This performance was based on just a fraction of the Escher graphic, which included a major transition, occurring musically at around 4:15. After that, the mixer lead for a while and although there was some guitar string scratching around 6:30, the mixer was almost solo again by around 7:30. Towards the end, the music resolved into a more serene plateau, with hints of more organic sound, again guided by Escher's graphic.


Alan McLean: / Pedal: Collage for Line 6 DL4 delay pedal (2016) (2:28) / Experimental, Electronic / This piece extends exploration with electric guitar and effects pedals (for example 'from Metamorphose', part of this Survey, Classwar Karaoke 0034) by dispensing entirely with the electronic input. The Line 6 DL4 delay pedal is a quirky and fascinating processing and 'echo' environment. Its digital circuitry sets out to emulate classic guitar effects that, in turn, use magnetic tape to imitate natural echo. Along the way, these pedals developed so that extremely resonant environments could be set up, environments with the potential to resonate on their own, with their own distinct resonant frequencies and sound quality. For me, exploring the pedal's voice reconnected me to the work of an occasional collaborator, Goh Lee Kwang with whom I first discovered that the sound palette of his no-input mixer depends a lot on the mixer he used. Like a rigid object suspended on a cord and struck with a mallet, resonant objects in the electronic domain have intrinsic properties. There was probably an element of rebellion behind my first experimentation for this piece. My electric guitar playing got some criticism for relying heavily on pedals, just the sort of thing that would make me try unplugging the guitar and finding out what the pedals could do for themselves. But once I heard the elegant way that the Line 6 pedal spoke, my attitude changed. Sound recording began by setting the pedal so that it resonated. Reducing the feedback gain slightly allowed the sound to fade, then the gain was cranked up gently while a recorder was running. All of the sound came from the pedal; the noises; the complexity of the note; rhythmic elements and the movement of the sound in the three dimensional space. (This movement, the sculptural aspect of the piece, is generated by bouncing sound from left to right and back again on the stereo sound stage, but playing it backwards each time. This creates shifting phase relationships which have the effect of moving sonic elements around.) More than twenty of these 'notes' were recorded, then a few were selected and combined using editing software. The notes were cut and superimposed on one another but no digital processing was used. The pedal speaks for itself, edited into a little cacophony of electronic voices.


Alexei Borisov: [...] 


Anthony Donovan: Goya Moog for Annie / Composition created using re-mixed and processed fragments of randomly selected material from the previous Classwar Karaoke survey, 0033. No further elements were added. 


Anthony Osborne: My Name Is Legion / All sounds and raw material culled from CWK and processed by A.O. Anthony Osborne is an improvising musician and filmmaker. He likes cats.


Antonio de Braga: [...] 


Ben Presto: is Patrizio Pica


BERTHELOT: Le Modigliani du paradis fiscal /


Bunfly: is Paul Bunyan 


Cabrini Green: [...] 


Chris Bywater: [...] 


Chris Silver T: [...] 


Crank Sturgeon: [...] 


Damien Olsen: [...] 


Daniel Heikalo: Bass Recorder Meditation / A bass recorder improvisation with simultaneous voice on certain sections, with frame drum accompaniment. Frame drum played by Arif. No edits, no overdubs, live in an empty room. I really like how it happened and the sound I captured. 


David Nadeau: [...] 


David Nadeau with Qkcofse and Johannes Bergmark: Processional Permutations


Drift of Signifieds: is Richard Fortenoy


Feeding Goats: [...] 


Fiver's Stereo: is Jay Decosta Peele 


Gurdonark: Frightened / Main drone was created with a process which  incorporates material taken from 0033 survey.  I also used many individual samples in the piece to add additional accent and texture{A}E: SOUNDS : JaAnNthony, CWK Penultimate Winners ~ We who are forever grateful salute you ~! / G.X. Jupiter - Larsen, James Bailey, Chris Viard of Psycho Paranoid Flower Power Electro Shit Song Company,  {AN} EeL / LYRICS: Youko Heidy / Music make energy Like that God Let Komeyo to music the energy body of their own But knowing the positional relationship of their own energy They are ringing also music of the universe life mambo today super universe life space Planet Star A variety of life forms is continuous to the synapse Macrocosm life is a great, great - Music make energy Like that God Let Komeyo to music the energy body of their own But knowing the positional relationship of their own energy They are ringing also music of the universe life mambo today super universe life space Planet Star A variety of life forms is continuous to the synapse Macrocosm life is a great, great


Hopek Quirin: [...] 


Hubert Heathertoes: [...] 


Iker Ormazabal: [...] 


Jaan Patterson: R.I.P. O.F.O. R:R 49:16


Jeremy Gluck and Anthony Donovan: Beyond / voice and words by JG; soundscape and composition by AD 


John Daly: / / Guitars are a primary source for the sound in the compositions I make, which also involve collaborations with other composers and sound artists. As well as conventional guitar technique I use prepared guitar interventions, tunings and percussive elements. The signal path has effects, delays, glitch, looping, which then feed into a computer for further treatments. Improvisation and prerecorded work is supplemented in real time with field recordings e.g. from nature, household and street environments. I am interested in creating immersive soundscapes that stimulate a diverse response to music and sound, improvised and experimental composition. I have performed my work at various sound art events in Ireland and have a strong presence on a number of web platforms and net labels


K.T. Reeder: Panama Papers Chaos / This work relates to the Panama Papers scandal and proves that the rich and wealthy believe themselves about the law, above democracy and the establishment must be smashed in order to ensure that democracy operates for every man, woman and child. The wealthy cannot be a law unto themselves. Societies must rise up, fight and destroy greed and selfishness. Wealth should be divided up so that everyone has a fair and genuine chance of living a decent life. Poverty should be destroyed absolutely, homelessness and deprivation should be destroyed and we must live in a free, fair egalitarian society where each person is valued, where freedoms are extended to everyone and where everyone acts in the common interest


Laughingstock 101: / Jonny Martin is a bass guitarist and trumpet player with a broad background in indie/alt/experimental music. laughingstock101 is his solo drone/noise project, which uses multiple sound sources and manipulators, (sometimes combined with abstract & semi-abstract video): 7-string bass guitar and trumpet, EBow and a variety electronic sound generators, played and mixed live through numerous effects. Can dream-like states be induced, a place be created where reality and time are held in suspension?


Lezet: [...] 


Linear Chain 4: Jared C. Balogh, Chris Bywater, AG Davis, Hubert Heathertoes, Siegfried Karcher, Jonny Martin and Marcin Tomczak


Mauro Sambo: [...] 


mutanT.R.I.: is IV Martinez / / / This track is an excerpt from the longform creepy dronescape, that is inspired by psychological sci-fi horror movie "Wolf's Hole" from great czech director VÏra Chytilov·


Mr E: [...] 


Noel Walsh: [...] 


Øystein Jørgensen: FLUX 


Paul Morris: [...] 


Phil Lucking: [...] 


Pixyblink: Wall of Skulls feat. GAKK / Composition and treatments by Pixyblink / flute: Geoff Leigh; cello sounds Jukka-Pekka Kervinen; soundscape by Anthony Donovan /


Princess Haultaine III: The Miracle of The Stigmata Congealed, The Scab of The Centuries and The Scars of Experience


Qkcofse: A Prolonged Blast


Quartet 2: Arthur Henry Fork, Ton Haring, Anthony Osborne and Craig S. Wilson


Rabbitry: [...] 


Roger Stevens: [...] 


Ronny Waernes: Rinyg


Sieqsonick: is Siegfried K‰rcher


Sound Inhaler: [...] 


Stormhat: is Peter Bach Nicolaisen


Subversive Intentions: [...] 


suRRism: with ‘R’ you can find.


Tae Atech: dashloss is an original track of sounds made with Fruity Loops 8. dashloss is an invented word formed by the wrong crasis of the words -das- and -schloss-. It is the first track of the mashup album "I want a desert island, more time to get brown, more time to be alone." by Tae Ateh, which was released in May 2016. streaming and download: / site: / contact: taeateh [at] tutanota dot com / Tae Ate Manifesto:


Ton Haring: [...] 


Union Furnace Meets Robodub: Duppiedub08 / A dub version, by Union Furnace, of dub08 by Robodub, which appeared on CWK Survey 0032. Union Furnace on this occasion is Anthony Osborne; Robodub is Simon Matthewson


VA & LIL: [...] 



Wilhelm Matthies and Jared C. Balogh: Left mic (unused piece) 




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