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there must have been a period in history in which our perception of the present and therefore our surroundings changed fundamentally, most likely due to the generally ongoing technological progress. a time where noise machines took over and the “victorious kingdom of electricity” was announced to be the musical soul of the masses inside factories and alongside railways.
while the first experiments reproducing the drastic shifts of humankind’s audio-visual surroundings resulted in mere cacophonies bursting out of horns it didn’t take too long until it was discovered in the mid 1920ies that photo-optic sound recording made it possible to visualize and reproduce sound waves and in addition, to even synthesize sounds from artificially created drawings. the properties of audio tapes were disclosing dimensions handling recordings never known before for audio recordings on solid bases. like being able to alter speed and direction while recording and playback as much as clipping, replacing and looping duplicated recordings. Plus another possibility arose by sheer chance: creating complex echoes.
all things i myself, like many others, could discover and embrace in a more convenient way during my childhood playing naively around with tape recorders creating impressively massive walls of noise and sounds with rather rudimentary equipment. This happened in exact that same period of time where there were countless beings hanging out in dark and not so dark alleyways, basements or living rooms illuminated by some odd neon lights creating and reproducing the hums of a modern day world which are constantly whirring in our ears without us even realizing. Using a vast, affordable and now portable variety of synthesizers and sampling machines and the likes following and extending, consciously or unknowingly, the path which has been prepared by visionaries exploring something which was initially called “musique concrete”, evolving to terms and newly sophisticated approaches like “elektronische musik” and “stochastic music” on machines the size and look of scaled down tower blocks.
what could have been seen as a rather naively predicted fiction about what might be ahead of us turned out to be most likely the turning point towards a postmodern society in which digital mediums make us forget about how once, not that long ago, this very (western) world was operated mechanically and has been merely on it’s way towards faceless numbers and mass data storage and control. though it has probably never been less brutal, fantastic or full of visions and wonders. just the means were different ones – enjoy listening to the past which is the present and likewise the future and thanks for tuning in……
DIE WESTDEUTSCHEN CHRISTEN – lass mich nicht allein (GER, Lass Mich Nicht Allein 12″)
THE DODGEMS – science fiction (UK, [Baby You’re So] Science Fiction 7″) ▶ http://www.punkbrighton.co.uk/dodgems.html
KATZE – tid att älska (SE, Tid Att Älska 7″)
BOXBURY BEAT – never along with you (NOR, Never Along With You 7″)
POEME ELECTRONIQUE – the echoes fade (UK, The Echoes Fade 7″) ▶ http://www.poeme-electronique.com
LOU CHAMPAGNE SYSTEM – don’t say i’m here (CAN, Untitled LP)
CRAWLING CHAOS – berlin (UK, Sex Machine 7″) ▶ http://crawlingchaos.co.uk
TRANSPARENT ILLUSION – is there hope (UK, Untitled LP)
SCHALTKREIS WASSERMANN – space shuttle (CH, Space Shuttle 7″) ▶ http://www.schaltkreiswassermann.com
this eleven song podcast is put together with the best of intentions and has on no account been uploaded for any sort of profit for my part. i tried hard to track down the creators and whenever possible get the permission of streaming their particular song in that podcast. thank you so much for letting me do that!
in case you feel misrepresented here please get in touch and i’ll delete you immediately! all rights reserved by the respective musicians.
cover art illustration by analogue monologues