Planetaldol & Ayato by Planetaldol & Ayato
friends, interested parties, consider please the
following... feral hysterians in some diorama for daphne oram; elegiac
tangles, in a loving welter of thought-we, squailing ddmmyy, squailing
nail young, hairshirted and funereal, emailing. or munitions at
fahrenheit 452; remote locations for prolegamena, in super id or so. or
scribble along all 21 buttons of the omlette and the egg, niddle-noddle
for lucky 13. this is a requiescat not a silo. the only way is up.
6 or 7 また電話するね (mata denwa surune) / kotomi nishiwaki: voice / hopek quirin: bass
Ambient Fabric I do it my way...
Bloem Triple fragmentation is a chemical experiment for tapes and saxophone baritone. All sequences were played live by Bloem (Anton Mobin on tapes and Maurice Charles JJ on saxophone baritone) at Le Café Central in Brussels on December 14th, 2010. All sounds are cutter, assembled and edited by Anton Mobin at the Maïzing Studio Paris, specially for Classwar Karaoke. “Triple fragmentation” makes at the same time reference to the complex result of a series of incomprehensible chemical operation, as well as to a sound experiment under influence of Belgian beers which the content in alcohol is strongly upper to the average ! Contacts: Maurice Charles JJ (aka Jean-Jacques Duerinckx) www.myspace.com/mauricecharlesjj
Anton Mobin http://antonmobin.blogspot.com/
Cagey House The doctor and I were drinking one night, in a part of town that we didn’t usually frequent. As always, we were trying to keep a low profile, but the doctor, with his white lab coat and his stethoscope, always attracted some attention. That night the attention was all of the unwelcome kind. It had been coming for a while, but that was the night I knew for sure—humor was out, and serious was back in style. As we sat at a corner table, discussing the situation, a dart whizzed by and smacked into the wall right by our heads. We turned, and another sailed in and stuck in the table, right by the drinks. Over at the dartboard, a kid—who looked very familiar—was laughing. He was with two mummies--all wrapped up but also wearing shades, and hats, and cheap suits. There seemed to be a cloud of dust hanging around them. The Doctor got up to have a word, and I figured that was that. But when he came back, he looked shaken He gulped his drink without bothering to sit back down and pointed at the door. In the parking lot he said to me, “That kid with the mummies, he’s got a time machine, and he’s going to go back to the fifties, and mess around, and fix it so that I never happen.” I told him that was crazy. People wouldn’t stand for it. He was the heir, the best and brightest. But from that night on, I saw less and less of him. Until it got to be like he had never happened. Then a few years later--a few long years--I was in the basement doing laundry, and the phone rang. I picked it up, and could hear the unmistakable sound of a good time in progress—muffled laughter, glasses clinking, a cash register’s ring. And there was music—weird, good music—loud guitars and horns working through some eerie mode. Then, just before the line went dead, I heard the Doctor’s voice, “Where have you been, where have you been, where have you been?” And I’ve been wondering ever since.
Caroline Ono (conventional convent convention converts conversation)...
Cezary Gapik [...]
Clutter Lanternhouse II (7:54) (Shaun Blezard) / Lanternhouse II is an electro-acoustic improvisation using found sounds from Lanternhouse in Ulverston as part of Shaun Blezard’s artist residency there under the project name Cumbria Remixed. Cumbria Remixed is a sound project using digital technologies to investigate and remix the soundscape of Cumbria. It will look at creating a lively dialogue between old and new, young and old through field recordings of Cumbrian environments, and Cumbrian people’s tales, tunes, stories and songs. I will use digital technology to remix and remould our environment and our stories to create new soundscapes and songs. Cumbria remixed is a project by Shaun Blezard for Lanternhouse. Shaun Blezard has been writing music about and of Cumbria for over 10 years, working with artists, poets, musicians, dancers and the community as well as incorporating sounds of the local environment into his work. He is interested in working with every day new technologies such as mobile phones and games consoles as well as standard digital technologies to create music and sound art. His current live set up includes iPhone, Nintendo DS, laptop and effects pedals. He is interested in areas of music where genres meet and finding ways to incorporate this melding of influences back into his music. His working method involves the use of field recordings, both raw and processed, to convey a sense of place and narrative, with the immediate sonic environment at the core of his work. 'A fine collection of digital landscape paintings and atmospheres by Shaun Blezard under his Clutter alias... Remarkable to think that such clinical instruments as the iPod and Nintendo DS were used as tools to realise this very human music' - Ed Pinsent – Sound Projector 19 http://cumbriaremixed.blogspot.com/ http://soundcloud.com/cumbriaremixed www.lanternhouse.org www.cluttermusic.com
Collectif Sin this track is a pattern we created to search through the clip system on Pure Data. this brings you to find some Rock n Roll saturation on our frequencies, which are only numeric frequency generators. ~ = sin, is sinusoid, writing mathematical vibration. ~ = alt+n pure data. ~ = Collectif sin ~ , Flavien Berger, Erwan Evin, Quentin Caille and Paul Boudeau
Crank Sturgeon --Period Piles-- complementary disclosure. insuring censors ensues. one many two any too. on the wife wither lithe. tines to pose. rest well hairy zest. zealous ire spiels eel wire. whittle title. trial tamper tooth eating. wit tidal. try all temper truth heeding. pits hewn. pithy hues. pity pews. pittance use. while we we wary away. rising rice bed tweed teal. criers career veered clear. briar bush vicar veal. mired me malaise. suggestive vests since wince. cold welcome tinder from. pious abuse burial cot. counting glance. sentient door. cemented memory steer varied. periods appeal winter terra. precious amounts safely tooled. clamor prints pliers field. baying loot tenfold glue. lasting haste. wasting hassle. vast wind hassock. crass wing hash poor. rearing wheeze knocker nine. praising edition berry headway. one over five fire rotunda. wool rundown column salaam. coin tousle red slues digger. giant blazer toke tree fable.
Crash Duo “Inside a movement - The mechanism to rock the intrusion” / Classwar Karaoke 0013 / Acoustic pressure due to sound waves, probably more than 50 explosions. Three parts can be distinguished in this acoustic pressure from bubble waves with a frequency of *Hz. Crash Duo produce sound in air by imposing a rapid motion to the interface. Bubble traveling in the uppermost *m, its strong vibration, overpressure generates the main event with a frequency around *Hz. Kinematic waves of frequency around *Hz are the main source of this crash sound. Contacts: Ayato http://h.a.k.free.fr Anton Mobin http://antonmobin.blogspot.com/
Donovan/Montag/Pearson Faro H Wind H Christ Manwatcher by Anthony Donovan, Jean Montag and Jo Pearson. Music by Donovan / Montag / Pearson. Words by Pearson /// I thought you were Just the ticket... then he told me the end would be fairly tough I knew I'd gone far enough every day I meet my maker he's a bit of a faker a bit of a fakir Jesus forgive me I think that this might be blasphemy he said: 'do what's best for you' so I said: 'I'll carry on watching: man, it's such a blast for me even when it's shocking' (He was winding you up all along) / Recorded in Spain and the UK, 2011, especially for Classwar Karaoke. Donovan, Montag and Pearson work individually, respectively, as Murmurists, A Quiet Monday and One Minute Wanda
FluiD (Christophe G.) is a Chicago, IL. (US) based producer and remixer. Developing a signature sound based on beats, bass and noise, FluiD has carved out a unique and truly original sound. Releasing a large amount of music both as a solo artist (FluiD, subduxtion and Re: dux tion) and collaborator, on various independent labels around the world. His music encompasses a multitude of styles and influences - techno, jazz, noise, classical avant-garde, hip-hop, psychedelia, metal, dub, early industrial and dark-ambient. He has also remixed several international and national artists including, Disinvectant (UK), DJ Phys (Switzerland), LAX (UK), Heat From A Deadstar (France/Switzerland), Ghoul (US) and Actors and Actresses (US). Regulary performing/touring the US, FluiD has developed a live show that re-defines how electronic music is performed
Frédéric D. Oberland A frozen plane behind the misted porthole. A far away melody in the room. Then a chair, a piano. Through a corridor the wind is whistling these words from E.E Cummings. 'maggie and milly and molly and may went down to the beach(to play one day) and maggie discovered a shell that sang so sweetly she couldn't remember her troubles, and milly befriended a stranded star whose rays five languid fingers were; and molly was chased by a horrible thing which raced sideways while blowing bubbles: and may came home with a smooth round stone as small as a world and as large as alone. For whatever we lose (like a you or a me) it's always ourselves we find in the sea' Recorded and mixed by Frédéric D. Oberland between Paris (Magnum Diva studio), Reykjavik (IS) and Le Moulin Fondu (Noisy-Le-Sec). Fender rhodes, electric bowed guitar, piano, field recordings, theremin, electronics, photograph: Frédéric D. Oberland http://soundcloud.com/fredericdoberland http://www.myspace.com/farewellpoetry http://www.therustleofthestars.com/
Graham Dunning My working practice deals with temporality, memory and narrative through sound, performance and installation. I am interested in people’s discarded memories, in photographs, sound recordings or objects, and the function of archiving. Found home recordings from the recent past feature in my work investigating notions of the artifact and implied narrative. Experimentation is important in my work, and my practice is often informed by scientific experimental protocol
Gurdonark In a time when information is more available and more important than ever, access to information is being treated as a commodity. Among the potential casualties of this change is the public library. In Library, the music explores the quiet complexities of this common but un-commonplace institution. The music was created with the Sawcutter 2.0 software synthesizer, using simple samples I created. I used two Bolivian flutes, a tarkas and a ponquillo, as well as a pewter cup and a circular kitchen bowl, to create the sound samples used in this song. I believe in self-education, in upward mobility through learning, and in closing the educational gap between rich and poor through libraries and schools. The image is a view of the surrounding mountains from the rooftop of the Salt Lake City, Utah public library.
Hal McGee Hal McGee plays the Moog FreqBox and Behringer UB802 mixer with the voltage-controlled filter of Korg Monotron in this no-input mixer feedback loop improvisation
Ian Linter Vurn in Mir'Ias 13:02:1010 / "Mir'Ias. Quando aquela mulher chegou, ela levava debaixo do braço um sonho de encantar. MiasmatiK solution, envolving Abnot k. Na fuga fez a vitória suprema, e depois, entre as aranhas dos lados, e nas buscas do possível, ela se enfiou pelo pedaço da noite que restava. Below zero atrox & Nubia accelerator. Depois, a noite toda foi coberta de espantos e acelerações do imediato. ZX Nubia - a aceleração condensa o espírito e transfere o pensamento - ZX Vurn." http://astrangerparadise.com/ianlinter
Igor's Roomy Lab Coat gor's Roomy Labcoat present a track by compadres stix, dieckman von spasmid and igor leakin-beaker - 'ownself' Be yourself, no one else can be :)You got to own it to loan it........don't let the bastards grind you down..........fight for your right to party et cet er a ;) Many thanks for listening, wishing you well!
John Hyatt John is a polymath and has a long history of international exhibitions and performances as a painter, designer, musician, printmaker, author and sculptor. As well as continuing a prolific career as an artist and musician, John is currently Director of the research and postgraduate centre, MIRIAD (the Manchester Institute for Research and Innovation in Art and Design), at Manchester Metropolitan University, UK. In 2010, John exhibited in the UK, Australia, China, Japan, and India. The music world will know John as the lead singer with Leeds’ 80s’ legendary post-punk band, The Three Johns. John has recently produced a new solo album of music, ‘Do What You Wanna Do’, in a limited edition. His new album, ‘Do What You Wanna Do’ is available as a CD from his website: www.hyattartandlife.com The song included on this survey was improvised with a feral dog under a full moon on top of the volcano, Mt. Tiede, at midnight
Juca Pimentel & Anton Mobin “Supolitanas Marítimas” / Classwar Karaoke 0013 / Os mares colhidos fumegantes entres os dedos de espuma e a saltar pelos lados caídos. As amarras colhidas amadas dos antos funestos na marítima serpente do antro-menina que se esvazia em ondas de salto. As Supolitanas tremidas dos campos olhados ao fundo do mundo e em conchas de mira aguçada no cima. Os laranjos-ervas dos montes subidos enfidos e midos da carta séria do a. Tudo isto é sombra paralepípeda a estancar o olho no meia da mão aberta merta. Dois passos abaixo e as ondas furam. Contacts: Juca Pimentel (Pt) http://omnicorn.com/jp/
Anton Mobin (Fr) http://antonmobin.blogspot.com/
Kalistongue Don't cry July, you're a shining example of what people percieve you as
Lezet /UAIS DHAIUS DHUIAS DHUI ASDHIA USDHAIS UDHIA UD HIAUD HUIADHIA UDHAU IDHUI/
Lux P0G0 Lux slerpy sterpy ... three sisters skippn', nev/Rmind, d/n't de/cidin' do/in', such as suggested. [No, worry passd by saints passn eyelash.] One, stellar cardboardtyp[pad[we press face ** them, ho hummin ho hummm. One, tappd+, tapdd&, trailin/g. One, xSUGgestd, xEYELASH/d. Three, P0 G0 xxx "sterpy do don't decide do such as suggested no worry passed by saints passing eyelash stellar cardboard"
Noise Research & Richard Knight Richard Knight is a sonic/computational artist, usually performing with digital equipment. Incursions have established him as a practitioner of the no-input mixer, a subvertedwhich allows analogue feedback to be harnessed in an often precise and diverse manner. The performance for EOVI will see Richard utilise two no-input mixers, in an ongoing collaboration with Rodrigo Constanzo. Other relevant projects include the electroacoustic/jazz duo, 'Pesticide Organica'; no-input techno project 'Closed Circuit' and experimental/electronica 'Underbaud'. Noise Research is the Alter Ego of sound artists / musician Ian Simpson. Ian Simpson has worked in experimental music for many years and has material released on Electronic Musik, aReW, Casual Seizures, Bivouac, A.M.P recs, Knife in the Toaster and EMP. He works with improving quartet Id of Mobius (also on Clinical Archives), ambient project Bacillus, electronica duo Fonik and Krautrock Electronic droners Aht-n. Visual artist / film maker Adam Mufti has recently used music by Bacillus as part of a film soundtrack. Ian uses effects lines / processors combined with a variety of lapsteel guitar, cheap charity shop keyboards, circuit bent toys, scratched cd's, chant generators, dictaphones, and chimera boxes.
PAS with Big Brother on Acid I love the people who love and I hate the people who hate. http://www.bigbrotheronacid.com/ http://www.myspace.com/pas-music
Planetaldol & Ayato improvisation recorded live on feb.26/2010 @ the Pixi_Paris. Planetaldol: lap top, tampura machine, bells. Ayato: prepared guitar, dictaphone
Reve Steich while realizing the wait the step was caused!
Shield Your Eyes Pray for Death Shield Your Eyes is the noise duo of Mike Duffy and Schuyler Tsuda. Their performances involve sound sculpture, DIY audio circuits, hacked/modified instruments, computer generated/assisted sounds and experimental video. Every show is unique, with machines, software, and video custom-made for the venue. http://shieldyoureyesprayfordeath.com/
Sinus Buds "Tu quoque" / John Aubuchon: "Ad populum"
Sound Inhaler Rights and Privileges (Suffer the Loss) / As it happens there are particular aspects of my life to which I would like to maintain sole and exclusive rights and privileges……. and suffer the loss! firstname.lastname@example.org www.myspace.com/soundinhaler
Thanato Twist with Oleg's Sound System Thanatomitstu V.02 : yamaha PSR48 & Thanatogushi ID : yamaha DSR2000 additional instruments : turntable; radio; TR606 & analogic pedals. email@example.com http://www.myspace.com/thanatotwist
Thomas Fernier se vider de certaines images... civilité : voiture, sport, consommation d’alcool... suivant les besoins de la cause... un aspect un peu lunaire... le serrent contre leur cœur... mouvements de précision... mais le titre est vraiment venu après l'œuvre... protestation silencieuse... entre la plage et cette histoire... en vociférant par borborygmes... substances qui altèrent l'esprit... au moins une mort fut enregistrée... pour ceux qui n’arrivent même pas à formuler les choses
Zilmrah Sharpen All Sides / Collaborators: Lawry Romani: 18 String Guitar Wheel, Autoharp, Electric Kalimba, Oscillators, Electric Tanpura, Effects / David Tamura: Tenor Saxophone, Guitar, Effects / Grady Gerbracht: Drums & Percussion / John Loggia: Drums & Percussion / Man must evolve into an armored being not only in body but more importantly in mind. This hyper-realized metaphor is on one level depicting sci-fi imagery for affect to grossly exaggerate the obvious; pointing out mans lack of understanding for the untapped regions in the human mind, the likes of which we sadly will not see come into fruition in our own lifetime. Static frequencies permeate the air waves that surround our minds, blocking free flowing thought, increasing the need for the mind to filter through elaborate defense mechanisms which are counter productive to the growth of the human mind yet necessary for mans sanity and survival. These machinations have become a slightly more sophisticated version of our primal instincts. One can only conclude the only way to evolve is to isolate the mind from the negative side effects of day to day living including all counter productive persons within that sphere and stimulate our minds whenever possible in place of all negative human contact.
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