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previous record label: pan		there are 17 titles on paradigm in stock. they are listed below.		next record label: pataphysique

$15.54

back in stock as of
march 31st, 2010

first in stock on
january 26th, 2008

threads:
electro-acoustic-composition
musique-concrète
modern-composition
sound-poetry
1960s-electronic
1970s-electronic

best of 2008 !!!

paradigm (uk) #pd 25 cd

trevor wishart “machine” compact disc

machine (a) (12:08)
machine (b) (8:51)
machine (c) (12:58)
machine (d) (13:33)
machine (e) (11:50)

january 2008 release ; the long-awaited reissue of trevor wishart’s earliest known piece, the two-side-long “machine” from the legendary 1973 “electronic music from york” boxed set (the richard pickett, richard orton, martin gelhorn, andrew bentley, martin wesley-smith, and john cardale material remains elusive and enticing...)

machine “started life in 1969 with the initial recordings of factory & machine sounds” & was finished in 1971 - it’s a particularly powerful beast, hedging wishart’s singular musique concrète stylings with a full choir (providing both mass unison singing & uttered single words according to the score - printed in full in the booklet) and raw, unfettered location recordings of the nottingham power station, the gegb power station, forgrove machine tool co., alf cooke (colour printers), schweppes (bottling division), braime (sheet metal pressings), leeds central telephone exchange, etc...

simply an awesome piece; essential listening for anyone interested in the historical end of british electronic music. highly recommended !!!

paradigm press release...

trevor wishart - machine (pd 25)

jewel case cd with 12 page booklet

total time 59:21

released 2008

although machine was completed in 1971 it was not released until 1973, shortly after the release of journey into space. machine is therefore the first major composition by trevor wishart. it was composed at york university and was originally issued on vinyl as 3 sides of a highly adventurous 3lp box set called electronic music from york, released by the university’s own record label.

in common with journey into space (also on paradigm discs), machine makes use of a large number of volunteer contributors, mostly from the student body at york. with this recording, however, there are no instruments used.

instead, the music of machine is made up entirely from a combination of spoken text and carefully directed improvising choirs that take their lead from prerecorded factory sounds. these are extensively mixed and edited with yet more collected machine sounds and other sources of musique concrète, as well as occasional use of basic electronic sources. the scale of this work, and the degree of preparation involved in scoring it, seem to have more resonances with the world of theatre or film rather than tape composition. much of wishart's early work involved the use of musicians and artists being directed to perform in new ways, outside of their usual remit. a combination of late 60s openness, detailed scores that provide frameworks for improvisation and slavish editing have resulted in an incomparable sound work.

with a continuous playing time of one hour, the wild and previously unexplored terrain covered by this pioneering work of british experimental music moves in turn through the full range of possible audio landscapes from the oceanic calm of the doldrums to earsplitting factory mayhem.

$15.54

back in stock as of
march 31st, 2010

first in stock on
january 26th, 2008

threads:
lafms
modern-composition
electro-acoustic-improvisation
free-improvisation
1970s-electronic

paradigm (uk) #pd 24 cd

bob downes “episodes at 4 am” compact disc

gong electronic (2:08)
marimba electronic (2:37)
flute circles (2:45)
flute streams (4:10)
marimba bells (4:43)
zither flute (2:28)
tunnels electronic (3:23)
dulcimer flute (4:01)
string percussion (3:33)
gong finale (0:34)
the wind upon the moor (2:09)
tribal dance (7:16)
solo duet nr. 1 (4:07)
solo duet nr. 2 (3:30)
sacrifice (9:28)
unidentified flying frequencies (3:31)
your call requires a 10 cent deposit (7:04)

a set of early electro-acoustic improvisations by bob downes, commissioned in 1974 by the welsh dance theatre as the soundtrack to the piece “palace at 4am” (after the giacometti scupture of the same name) directed by david nicholas.

alternatingly solemn and quite abrasive - the pieces here mostly utilize a single instrumental “source” and leagues of electronic modification & alternation - completely wiping away the original timbres in a bath of echo & overmodulation. highly recommended, esp. if the jerry-rigged electronic future/past of such stalwart explorers as david tudor & il gruppo snake your garden-path ...

paradigm press release...

bob downes open music - episodes at 4 am (pd 24)

jewel case cd with 4 page booklet

total time 68'40"

released 2007

around 1970 i bought a 2 track revox a77 tape recorder and 2 calrec microphones (as the latter were known at that time). i soon discovered there were many ways to use this tape recorder. for example: sound on sound and the use of echo in various ways or recording at 15 ips and then play back at half speed. but most of the tracks on this cd were recorded at 7.5 ips, before i bought a second machine with 15 ips. later i had the machine fitted with a variable speed. the tape recorder for me became a musical instrument.

“flute circles” was recorded at 3.75 ips, and i believe that you will agree with me that the quality is astounding, also, don’t forget the master tapes have been standing unplayed in my archives for the past 33 years!

the japanese gong which is heard at the beginning and the end of the “episodes at 4 am” tracks, dates back to the first year of the empo 2 period, “the year of the tiger” (1674).

for “marimba bells” the instruments to be played were spread wide apart from each other so that a natural stereo picture would take place enhanced with wendy slowly moving to and fro between the microphones, rolling snail shells in her hands - a natural panning effect –. i lowered the playback speed about 15% on “zither flute” because i wanted a kind of drugged /slow motion feeling to be the outcome.

“tunnels electronic” always conjures up for me the feeling of being sucked into a black hole (especially at 2 mins 26 secs into the track) which i achieved by drawing air into my throat.

“dulcimer flute” was recorded in a room with just 2 microphones set before wendy and myself and no reverb added, just the natural room sound.

“the wind upon the moor” was recorded on modern studio equipment. some time after the recording i extended the poem and the updated version you will see below. (incidentally the poem is dedicated to the great american actor vincent price)

“solo duet nr.1” and “solo duet nr.2” were deliberately recorded to achieve a stereo effect with no centre sound, as both compositions were commissioned by the choreographer robert cohan of the ‘london contemporary dance theatre’ for a modern dance with 2 female dancers on stage both spotlighted and separated by at least 10 meters apart. the dance for one dancer was choreographed by the sound coming from the left speaker and the other one from the right speaker. (you will notice quite a bit of variable speed was used on these 2 tracks.) the fast and abrupt swishing sounds were produced by blowing through the flute head only.

“unidentified flying frequencies” was created while i was preparing to record something and inadvertently a fault occured in the equipment which somehow got on to the record heads and hence to the tape. i took the opportunity to manipulate the recorder and thus achieved the end result.

“your call requires a 10 cent deposit” was made with a portable cassette recorder. people seem to be surprised about some of the sounds that i had recorded, saying that they had never heard them before when using call boxes in new york. at the time i was a trifle horrified at what was coming out of the telephone earpiece after all my heavy manipulating of the dial buttons. at one point i decided to make a hasty retreat, fearful that i was in the process of being traced by the telephone exchange. at this time in europe there were no “musical dialing tones” in public phone boxes. my idea of bringing this piece about had a theatrical touch to it. i wished to portray someone that had absolutely no idea how to make a call. i think that does indeed come across. (bob downes)

the wind upon the moor

the wind upon the moor
where no other sound is heard
cool grey mist sweeps a searching face
soft green moss
a careful silent tread (not to wake the dead)
the coming darkness can be seen
a figure looms ahead
an increase of fear, as it comes near
a stifled cry, as it passes by
the wind upon the moor
the wind upon the moor
the wind upon the moor

bob downes
© 2007

bob downes is most often thought of as a jazz flautist, composer and group leader, but throughout his varied career that has included such diverse musical activity as working with the john barry seven and playing on egg’s second lp, he also had his own fluid conceptual group “open music” with principle bass player barry guy and drummer denis smith. other players that passed through open music include chris spedding, kenny wheeler, ray russell, ian carr, henry lowther, harry beckett, harry miller, barre phillips, john stevens and many others. besides the free jazz and jazz rock influences, bob downes has also been involved in much experimental music. after his early 70s releases on philips, vertigo and music for pleasure there appeared a series of 3 private pressed lps on his own label openian that explored this more experimental style. “episodes at 4 am” is the second in this series and is by far the strangest of the three.

released in 1974 and commissioned by the welsh dance theatre, it consisted of 10 short duos performed by wendy benka on zither, dulcimer and small percussion, and downes on flutes, various percussion and plenty of electronic manipulation. nearly every sound on this lp was processed using a variety of shimmering delays, controlled feedback, reverb and speed change to create a haunting and delerious mix of musical styles and atmospheres.

taken from the master tapes, this 33 minute lp has been expanded for the cd release with 35 minutes of previously unreleased experimental works, mostly from the same period, that cover even more ground than the lp, including one piece made entirely from the sounds of various phone booths on the streets of new york.

$15.54

back in stock as of
march 31st, 2010

first in stock on
may 17th, 2007

threads:
lafms
art-punk
sound-art
lo-fi
field-recordings
electro-acoustic-composition
plunder-phonic

best of 2007 !!!

paradigm (uk) #pd 23 cd

“i.d. art #2” compact disc

mac mccloud / mac mccloud (2:19)
harold schroeder “silent rituals” (3:32)
greg neutra / j.d. elliot “grieg fatigue” (2:01)
smegma “rrose selavy will wait for my washing, machine, even” / “the andalusian dog often digs into the furniture with onyx fingers.” (2:02)
smegma “potatoe war” (0:59)
fredrik nilsen “you can’t hide from aldehyde” (1:40)
miles forst “art, art, art” (0:41)
smegma “one moment” (1:30)
smegma “pig face blues” (0:24)
doug henry “view this command as a verbal enactment of a command” (0:15)
josie roth “heal, and another little time” (1:01)
joe potts “i don’t want to go to the farm” (0:21)
otto fick (0:48)
smegma “excerpt from: i’ll have julie nixon-eisenhower, for my appetizer (sour lungs to my surprise)” (3:01)
karen kato “xmas 1952” (0:35)
j.j. allen vargas “victim of racism” (1:25)
dennis guy mehaffey “busta nosa” (1:47)
m/r/zuniga “vulnerability: rape, male vs. female” (1:31)
mike green “martin heiddeger revisited” (dedicated to molly) (0:15)
mehaffey a. (introduction by buckminster fuller. “i stumble/you laugh” (4:01)
jules lemelle(1:03).
maureen abbott (0:14).
smegma “take one” (3:29).
dan weiss/p. hamilton ross “a bicentennial tribute to america’s freight trains” (0:56).
mr. foon “timeless #1” (5:50)
bertil petersson “monologue to henry viii” (2:05)
amrein & stoll (1:04)
ace & duce “dogs are barking" (0:37)
irene dogmatic/rose tatoo (0:36)
gordon shields “cotton duck, up and back” (0:59)
gary beydler “record stick” (0:16).
tom kemp “pasadena subway station poetry stills” (3:39)
donald spaulding “i don’t want this to happen” (0:32)
janice felger / joan hugo “one minute of art news update in 30 seconds” (1:04)
sue farthing (0:22)
waynna kato “white/noise” (0:29)
jim abuan / peter muzzey “why does love have to be so sad?” (0:20)
juan gomez “this is my country” (2:47)
p.j. campbell (1:01).
kathe schreyer “don’t make me laugh” (0:15)
mary dana chodzko “patty smith by mary dana chodzko” (1:42).
gary laskin “have sex with rex” (1:25)
jean koller “dream” (3:20).
le forte four “discarded portion of the soundtrack for rick’s film burger madness” / “the origin of largie schrapnel” / “i haven’t heard you for a long time...” / “fat ape” (1:17)

reissue of lafms 002, the 1976 “i.d. art #2” compilation lp - 44 short pieces (between 0:15 and 4:19) by smegma (five tracks actually), le forte four , ace & duce, frederik nilsen, and various agglomerates of lafms perennials chip chapman, ace farren ford, juan gomes, joe potts, rick potts, and tom recchion.

paradigm press release...

i.d. art #2 (pd 23)

jewel case cd with 8 page booklet

total time 65'48"

released 2007

when the los angeles free music society 10 cd set came out i eagerly flipped through the contents to see what treasures had finally been made available again. much to my surprise the early compilation i.d. art #2 was not included in this otherwise major overview of the lafms. i.d. art #2 was the second lp release on their label, coming after le forte four’s ‘bikini tennis shoes’ lp, and before the 2lp ‘live at the brand’, a split album between le 44 and the doo-dooettes. it dates from 1976. it is also probably the most difficult lp on their catalogue to find. originally released in an edition of just 200 copies, most of which were given out to the 44 artists and groups who appeared on this extraordinary lp. the deal was that each track was paid for by the contributor at a rate of $8 per minute in exchange for 4 copies of the disc. consequently very few copies were ever made available via the lafms mail order service.

with a running time of 66 minutes and the sheer variety of contributions, i.d. art #2 remained for most people a mysterious and tantalising item.

most of the contributors came from the students at otis art institute in la, and many make their only ever recordings for this disc. among the known names from the lafms scene are: le forte four, joe potts, fredrick nilsen, mr foon, ace & duce, dennis mehaffey as well as 6 tracks by smegma. other artists include the painter miles forst, violinist josie roth, film makers doug henry and gary beydler, mail artist and dog portrait painter irene dogmatic, otis librarian joan hugo, graphic designer kathe schreyer and many other creative artists and designers at the start of their careers who submitted their audio idea, be it via telephone, in subways, recontextualising old vinyl, philosophising, story telling, being abstract, joking, rehearsing and lo even playing instruments. this exhilerating journey, bursting with ideas was compiled by joe potts and waynna kato.

...

otis and i.d. art by rick potts

while chip was up at cal arts, joe was going to cal state la getting an art degree. in fall of 1975 he, along with friend and fellow artist, waynna kato, got their bfas and started grad school at otis art institute. the three schools shared a lot of faculty and guest lectures, only cal arts with its deluxe facilities cost much, much more.

the california institute of arts sits like a castle in the hills outside the city. back then, before the golf course and tract homes filled in, the hills were ala natural, which translates into weeds. the cal arts castle did a magic trick as you approached on 1-5 from the city. it appeared on a hill as you levelled out after climbing a couple thousand feet above sea level, then as you dipped down into the meadows the castle sank and disappeared. it was actually on the next hill up and dropped behind the first hill as the perspective changed.

in contrast otis sat in the heart of the city. the once nice neighborhood, where earlier on bankers and their families strolled around macarthur park (of someone-left-a-cake-out-in-the-rain fame), was slowly dissolving into a funky barrio. the neighborhood bums and druggies shared the park and streets with retirees who played chess and checkers at picnic tables and refugee families with baby strollers.

a while later, they drained macarthur park's man-made lake exposing decades of discards. years of 'offerings' had sunk to the murky bottom including plenty of handguns, knives and other weapons. an artist collected dozens and dozens of muddy shoes of all shapes and sizes, which he displayed in a neat pile on campus.

otis was on busy wilshire boulevard, a main east/west vein from the heart of downtown l.a. out to the ocean in santa monica. ironically, cal arts had sort of morphed out of another art college, chouinard, which had been only a few blocks away. now the whole neighborhood was slipping. the art world was changing with the use of many new mediums. artists were finally getting access to video and audio equipment. boundaries were being trampled for better or for worse. there was an anything goes kind of freedom that was open to anything but the same old crap. artists made music or films, too. it was all the same. ideas were more important then technique. concepts were, at times, replacing art objects. there was a rebellion against the gallery system that was parallel to the diy music scene that was growing outside of the giant record companies.

joe potts contributed a crucial tactic to the lafms in those early days. his idea was to adapt a common hippie business model of the sixties where buying in bulk brought the price down. dudes, who pitched in and bought a large amount of granola and than divided it and packaged the portions themselves, got a righteous deal on breakfast cereal by cutting out the middleman. it's called communal, man. artists of the day were cutting out the gallery middlemen by making a series of small multiples and mailing them out to each other. joe and his production partner waynna twisted these concepts and created several editions of i.d. art. originally, the idea was a way for the new students to meet and get to know their fellow students and teachers. instead of going around the room doing the 'say a little something about yourselves' routine, they proposed a book of narcissistic self-portraits by fellow students as a way of everyone introducing themselves ... faculty and some friends were given flyers that invited them to participate and explained their scheme. the deal was each person had to print their own standard sized pages, fifty of them, for an edition of fifty. these pages would be collated and bound into a book. most of the pages were just straight from the xerox machine or p.i.p, a printing chain that was kinko's before kinko's. there were exceptions, including some sewn in fabric on one page and most notably chip's contribution which inclulded a firecracker taped to the paper with 'baby, you're a rich man, too' written across the page.

after a funny session of running around the kato family's dining room table making stacks with the pile of stuff people submitted, it was waynna's task to find a place that would bind them. explaining the eccentricities over the phone, she found reluctant businesses giving prices that were adding up to hundreds of dollars. back then you had to rely on the yellow pages and word of mouth to do your research. for a day or so there was no solution until finally waynna tracked down another shop to try. she gave her spiel again only this time the person on the phone thought it was funny. the firecracker was hilarious. they could spiral bind them for a buck fifty each.

like the 'bikini tennis shoes' lp (lafms 001), the covers were scavenged by chip from his job at cunningham press. off-register postcard sheets with messed up versions of stodgy portraits from the huntington library worked great as covers for this book of narcissistic self-portraits. the spiral bound books came out great. everyone in the book received a copy and the extras were sold to recoop some of their costs. waynna and joe wondered 'what next?'

after the success of i.d. art the next project connected the i.d. art concept with the bikini tennis shoes breakthrough. i.d. art #2 was a record.

$22.26

back in stock as of
march 31st, 2010

first in stock on
january 25th, 2007

threads:
sound-poetry
1960s-electronic
1970s-electronic
live-electronic
electro-acoustic-composition

paradigm (uk) #pd 22 cd

lily greenham “lingual music” double compact disc set

double-disc overview of this neglected sound-poet / tape-music composer !!

cd 1

abc in sound (2:35) 1968
7 consonants in space (3:26) 1975
polar polaris (8:51) 1982-83
tillid (1:34) 1973
autor (1:00) 1973
outsider (2:15) 1973
borges (soundtrack) (10:15) 1984
capital (0:58) 1976
elastic collision (0:37) 1973
experience (2:10) 1973
circulation (9:51) 1975-76
french persian cats (1:23)
ona (0:50) 1973
rrr (2:31)
pre-eminence (7:49)
hocus pocus (2:19) 1976
gesichter/visages (excerpt) (3:49) 1972
musica (1:48)
percussion=voice (3:54)
improvisation (1:16) 1976

cd 2

unknown title (2:14) 1968
cherokee (1:28)
lichtgeschwindigkeit (6:00) 1974
circulation (extended element) (5:51)
friction (1:27) 1973
movimiento (4:32) 1973
hymn to lesbians (0:56)
sino (1:17)
traffic (10:31) 1975
tillid (1:12)
tops (0:53) 1973
trykfejl (0:16)
seascape (7:58) 1978-79
underground (2:57) 1976
relativity (8:13) 1974
untitled studio experiment (1:32)
polaris supermix (6:33)
gebet (0:46)
end of concert (1:13) 1976

superb double-disc overview of the obscure danish/english sound poet lily greenham. many bernard heidsieck-esque moments of zonked voice/tape jumble (listen to the sound clip!) interspersed with electronic collaborations with folks such as paddy kingsland, the bbc radiophnic workshop, hugh davies, gerhärd rühm, bob cobbing, bob downes, and many more...

paradigm press release...

lily greenham - lingual music (pd 22)

2cd in jewel case with 12 page booklet

total time 137'47"

cover by lily greenham
released 2007

britain’s best known sound poet is bob cobbing, but it’s hard to come up with a list of other sound poets working in britain in the 60’s and 70’s. it’s equally difficult to think of any female sound poets working anywhere. lily greenham was danish, but spent her childhood in vienna. after several relocations across europe she settled in london in 1972 with her british husband (musician and poet peter greenham), where she lived until her death in 2001. nearly all of her own writings and compositions date from after her arrival in london, but prior to her arrival in london she had been involved in two major european art movements. in the late 50’s she had been an active member of the early wienner gruppe, performing in their wild experimental theatre works and reciting the new poetry of young artists like gerhard rühm, konrad bayer and a.c. hartmann, but before the wienner gruppe had established itself as the important art movement it was to become, she had moved on and changed her working practice.

in 1964 she was back in paris for a second time, but this time she was working as a visual artist specialising in optical art. she was soon directly involved in group shows with the ‘groupe de recherche d’art visuel’. for the second time she was at the centre of an emerging art movement that was exploring new ground, but predictably enough she moved on. once in london she began to record her own text based compositions that used a mixture of sound poetry techniques, electronics and multi-tracking.

the term ‘lingual music’ that she coined for her compositions refers to her technique of using tape loops of text to create complex and dense musical structures. her most well known composition in this style is ‘relativity’, which was made in 1974 in collaboration with the radiophonic workshop at the bbc. she also worked with quite a few musicians, both via the early lmc network in london, but also on an international scene. a list of musicians she worked with includes john tchicai, wolfgang dauner, bob downes, barry guy, hugh davies, max eastley and peter cusack.

this 2cd set compiles a wide variety of her own work, including live solo performances, film soundtrack pieces, as well as many tape pieces. there are also examples of her performing works by cobbing, rühm and other sound poets, as well as recordings of her work with bob downes open music.

the recordings date from between 1968 and 1984.

$15.54

back in stock as of
march 31st, 2010

first in stock on
october 10th, 2006

threads:
electro-acoustic-improvisation
experimental-instruments
live-electronic

best of 2006 !!!

paradigm (uk) #pd 20 cd

gravity adjusters expansion band “one” compact disc

one (extended cd version) (12:17)
eastern lunarterranium (4:08)
autumnal equinox harvest dance (9:20)
soon after the beginning (6:38)
amerizenitation (6:47)
birds return to hollywood (6:48)
shimmering (extra track) (7:49)

the timing on this reissue couldn’t be more perfect... a few months ago, after years of searching i finally found an original copy (sealed) of this long-lost experimental-instrument/electro-acoustic-improv obscurity (along with the second volume, also sealed) - and what feels like mere moments later here’s a proper reissue of said lp, replete with contemporary liner notes, bonus material, & everything on clive graham’s newly revived paradigm imprint. i call that synergy: now i get to enligten two birds with one gesture by bringing this in along with the myriad other hard-to-find early-electronic and nurse-with-wound-list classics in the paradigm catalogue all in one fell swoop. everyone’s a winner...

i’ve long been enamored with the sound of the waterphone; the eerily haunting water-filled bowed-metal instrument named after it’s inventor richard a. waters (side note: a few years back i went so far as to attempt to purchase one for petra for her birthday last year - no dice: they begin at around $800 and climb, climb, climb...) this disc reissues the debut album by richard’s late-60s experimental-instrument free-improvising troupe the gravity adjusters expansion band.

paradigm press release...

gravity adjusters expansion band - one (pd 20)

total time 54'22"

cover by richard waters.
released 2006

jewel case cd with 8 page booklet

although the gravity adjusters expansion band (gaeb) started in 1967 they remain one of the long lost and underestimated groups that explored the areas of sound sculpture, improvisation, experimental music and free jazz. the group have their roots in playing in and around the san francisco bay area, and finally recorded their first lp in los angeles.

free jazz drummer lee charlton seemlessly shifs the moods from jazzy phrasing into the far more abstracted ideas of the world of sound sculpure. it is this abstract world where the gaeb mostly reside, using the invented instruments of multi-media artist richard waters, many of whose percussive and bowed instruments incorporate water filled resonators to bend and tune the sound.

although many other improvisors at the time like amm, mev, sonde and taj mahal travellers all made extensive use of home made and adapted instruments, the gaeb are a very different concern with their own unmistakeable identity.

their first lp “one” appeared in 1973 on nocturne records, a small californian label. it was the first of their 2 lp’s, the second appearing some 8 years later. this cd edition is a reissue of the first lp from the master tapes and also contains some 15 minutes of extra material from the time.

$18.91

back in stock as of
march 31st, 2010

first in stock on
january 25th, 2007

threads:
1960s-electronic
experimental-instruments
electro-acoustic-composition
sound-poetry
free-improvisation

paradigm (uk) #pd 19 lp

adam bohman “bunhill road” long playing record

mrs berry berry berry (1:01)
stay home on monday (1:44)
melancholic alcoholic (1:12)
irresponsible parent blues (1:31)
if you’re feeling perky (1:09)
cauliflower stomp (0:58)
midnight movie (1:22)
do the rock (parts i and 2) (1:12)
missionaries of the amazon basin (1:12)
cherry blossom toothpaste (0:40)
the whore from norway (3:24)
arctic cave dweller (0:48)
marching song (1:16)
talkin’ bout manilow (1:09)
this is your leader speaking (0:55)
messenger/paperkeeper romance (1:40)
have you ever seen the young man (0:57)
tom brown’s school days (1:07)
the girl in the purple dress (1:40)
quango tango (1:16)
this is your leader speaking (pt 2) (0:58)
bunhill botleys on the rampage (0:53)
heavy metal halifax (1:48)
2, 20, 6, 4, 9 (2:32)
pre-war and ugly (1:36)
juliet hippohorn (2:28)
the beast is breathing (1:28)
it’s sorglehop (1:21)
animal biology (2:44)
the milk chocolate soldier (3:01)

adam bohman’s cassette-only 1980 debut; finally made available to the public via clive graham’s paradigm imprint. a neglected album of uk free-nonsense that ranks bohman up there with fellow travellers/pranksters ghedalia tazartés and steve beresford in terms of weirdo home-recorded free music... classic.

paradigm press release...

adam bohman - bunhill road (pd 19)

lp in standard sleeve, numbered edition of 500

total time 45'21"

cover by adam bohman
released 2006

1980 was an incredibe year for london’s experimental music scene with many different strands. recommended records were rereleasing the first two faust lp’s, l. voag had found ‘the way out’, swell maps were ‘in occupied europe’. throbbing gristle and other industrialists were giving plenty of live actions. nurse with wound had just released their first lp, as had this heat. the other great lp on piano records by steve beresford was also on the shelves. meanwhile, elsewhere in the capitol adam bohman was making his first recordings working with two budget cassette recorders.

bunhill row was the first complete album of material, but whilst the aforementioned artists were pressing up their recordings and making them easily available via rough trade or the recommended records ‘shop’, adam’s releases remained in tiny cassette editions made for friends or exchanged on the mail art network.

so here for the first time is bunhill row, released as it should have appeared at the time - on vinyl.

it must be said that this is quite unlike any of adam’s other releases, and quite unlike his work with morphogenesis, or his work as one half of the bohman brothers. this is ‘songs’ - 30 in all, and the main instrument used is a trumpet (an ordinary trumpet), along with other acoustic instruments and a vast variety of objects and junk, much of which is still part of the bohman armoury.

the overall feel sits somewhere between r. steevie moore and caroliner, but this is british of course. somehow it all works, and all in all, opens another window on to the incredibly fruitful astral alignment that occured over london at this time.

adam also has a solo cd on paradigm discs, and also appears on 'variations - a london compilation' the first cd released on paradigm discs. the only other solo cd by adam is on mycophile.

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threads:
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1970s-electronic

file under:
electro-acoustic

best of 2006 !!!

paradigm (uk) #pd 18 cd

trevor wishart “journey into space” compact disc

birth dream (13.03)
journey (47.29)
arrival (18.18)

possibly the most classic (and impossible-to-find) recordings of early british musique concrète are the two “journey into space” lps, as self-released by trevor wishart on vinyl in the early 1970s...

paradigm press release...

trevor wishart - journey into space (pd 18)

total time 78'54"

released 2002

cd in 4 panel digipak

york university's music department houses one of the uk's first ever electronic music studios, and during the early seventies it was a hotbed of creative activity. much of the released output from the studio at this time revolved around the work of the dynamic composer trevor wishart.

journey into space was his first release, composed between 1970 and 72, and was privately pressed (shortly before the formation of yes records), as two separate lp's in 1973. (the cd cover amalgamates the 2 original designs).

along with other early private releases of experimental music in the uk (ie the lp of sound poems by cobbing/jandl, or the lp of musique concrète by desmond leslie), this record is also a total anomaly in the canon of british experimental music and has little to do with the current, or even subsequent work by wishart.

the vast length of this piece has many different styles. there are acoustic sections, mostly of junk and toys (bike bells, squeeze horns, bottles, metal tubes, combs etc.) as well as flute and brass sections that are used as raw material. there are also sections of everyday field recordings, scraps of nasa apollo transmissions, as well as plenty of multitracking, editing, vocal acrobatics and musique concrète.

among the 48 participants credited on the original sleeve are a whole roster of york university alumni including nearly all the artists who were showcased on the then unreleased 3lp box set 'electronic music from york', along with other noteworthy students as diverse as steve beresford, jonty harrison, roger marsh, dominic muldowney, bernard rands and jan steele.

he co-operative spirit of york's music and drama departments, plus the raw enthusiasm and open attitude of the participants involved in the project gave this music an immediacy, similar to the later lafms scene.

...

“journey-into-space was made using the most diverse methods of sound-production and tape-composition. real-world events were collected via portable rts. miscellaneous sound-sources were collected form metal work-shops, toy-shops, builders' yeard etc. some of the material for th eoriginal source-tapes was group-improvisation on these collected objects, and/or instruments and voices .....some very free, others less so, and yet other sections strictly notated. other sound--sources were recorded individually and mixed or edited later in the studio. all these sounds were sorted, selected, pre-edited, and some treated. from this point the process of tape-composition proper could begin, the most time-consuming part of the work, involving vast ammounts of editing, mixing, re-editing, re-mixing, and treatments (speed-change, filtering, etc). in practice, all the activites outline above were pursued simultaneously, the piece growing in conception as it was being built.”

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electro-acoustic-composition

paradigm (uk) #pd 15 cd

kymatik “dar-as-sulh” compact disc

dentists for mice (17.11)
trawler leaving harbour (1.30)
excerpt from kandinsky's 'im blau' (7.30)
crickets in the wind (3.47)
tisedni (10.59)
bees (3.10)
lorenz attractor (23.00)

paradigm press release...

kymatik - dar-as-sulh (pd 15)

total time 67'17"

cover by jo forty & kymatik
released 2001

cd in 6 panel digipak

the name 'kymatik' is derived from the greek word 'kyma', meaning 'a great wave', and was used by swiss physicist hans jenny as a descriptive term for the effects he saw using amplified tones to manipulate/create patterns in fluids and powders. more recently jenny's research has led him to use these findings in a clinical environment for both therapy and healing.

these ideas and the use of ambisonic surround sound equipment are the underlying influences on this cd. on this cd there are both environmental recordings as well as compositions that make use of uhj encoding to enable ambisonic playback. of the compositions; the musical styles range from the use of dense rhythmic patterns to subtle shimmerings and a pure tone piece that sounds like nothing i've heard before.

the short environmental recordings are spaced between the compositions and offer some light relief from the intensity of these works. one thing all the pieces have in common a strong psychoacoustic effect which can be further enhanced for those fortunate enough to have access to a uhj decoder.

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threads:
musique-concrète
field-recordings

paradigm (uk) #pd 14 cd

peter cusack / max eastley “day for night” compact disc

peep show (9.37)
day for night (8.05)
zero day to zero night (4.54)
cast (5.05)
roomshine (4.52)
arc light (1.42)
shade 1 (3.12)
shade 2 (3.33)
nest of wasps (6.23)

paradigm press release...

peter cusack & max eastley - day for night (pd 14)

total time 47'51"

cover by max eastley
released 2000

cd in 6 panel digipak

over the last 25 years cusack and eastley have been gradually adding episodes to the collection of compositions that make up this cd. the foundation of this work consists of location recordings layered with the live or recycled sounds of eastley's kinetic sculpture.

over the same period that this cd evolved cusack helped with setting up the lmc, worked for 2 years at studio steim in holland, co-founded bead records and released several lp's on this label. his long term musical collaborators have included: clive bell, nic collins and viv corringham, as well as the group alterations (with steve beresford, terry day and david toop). recent cd's are available on platelunch, rer and resonance. he also frequently works with artists in other fields, including most recently in september 2000, "the week of small miracles", a large scale outdoor project in the lea valley area of east london which he curated.

meanwhile eastley's last 25 years have been spent more in the art gallery than the concert hall, with exhibitions in the uk at the serpentine gallery (1976) and the arnolfini (1980). overseas installations include the apollohuis in holland (1984), the museum of modern art, nagoya, japan and xebec hall, kobe, japan (both 1994). his most recent exhibits were seen this year as part of sonic boom at the hayward art gallery in london. he has also been involved in musical performance, especially the whirled music project in the 80s and also ongoing collaborations with david toop and occasional work with thomas köner. he has recorded for many labels including incus, quartz and most memorably his 2 releases with david toop (new and rediscovered instruments, originally on obscure, 1975, and buried dreams, on beyond, 1994). eastley's work is concerned with creating delicate and elegant kinetic sound devices, either motor driven or animated by environmental forces like the wind, streams or the sea.

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paradigm (uk) #pd 12 cd

rev. dwight frizell “natural selection” compact disc

scrat (18.08)
body of the film (02.55)
first painting (05.23)
the rising surfs of the body opening (02.26)
nocturnal (14.21)
building the earth (28.18)
film making (01.13)

paradigm press release...

rev. dwight frizzell - natural selection (pd 12)

total time 76'55"

cover photograph by dan frueh
released 2000

jewel caes cd with 12 page booklet

after paradigm discs released the 1976 lp by anal magic and rev. dwight frizzell, the true scope and diversity of this mans activities became more apparent to me. first there were the countless unused remnants from the original lp recording sessions, then the many films and their soundtracks, the regular radio shows, the dreamlanddiaries web page, the large scale intermedia events, performing weddings and leading the live group black crack review. for 25 years there has been a dynamic continuity to his work, and a strong association with his collaborators. he has also contributed to books on sun ra, and is a popular tutor at the kansas city art institute. after being so inspired by the discovery of this creative energy a second cd was immediately planned. all the pieces on this release deal with frizzell's more experimental output, and include 2 long performance pieces that date from the 90s. one is a multi channel sound diffusion piece using electronics, tapes and acoustic instruments, the other uses graphic scores and is more acoustic with backing tapes. both these pieces draw their inspiration from natural phenomena, using sounds from nature, the environment and the laboratory. they were both recorded in church spaces and, unlike the early work, use high quality recording equipment. of the other 5 pieces, 4 are soundtracks, and all date from the same period as the lp and have the hallmark of the sound world that prevails on side 2 of the anal magic lp, a time when frizzell was still a student at the kansas city art institute.

natural selection was recorded in an ancient ozark sinkhole, a plastics factory, a gothic church and other acoustically rich areas in missouri. these communal efforts and soundscape feedbacks were produced between 1975 and 1996, and freely orchestrate tesla coll, river whirlpools, bass clarinet, dog-whistle, violin, oscillator, bassoon, cb radio and pipe organ' (notes on back of jewel case)

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threads:
musique-concrète
electro-acoustic-improvisation
free-improvisation
psych-prog
modern-composition
minimalism-drones

best of 2006 !!!

paradigm (uk) #pd 11 cd

dubravko detoni / acezantez “dubravko detoni with acezantez” compact disc

dokument 75 (1975) (09.01)
kitsch variations (1976) (19.17)
fable (1973) (20.48)
grafika vi (1973) (09.40)
group gymnastics (1974) (11.04)

paradigm press release...

dubravko detoni with acezantez (pd 11)

total time 70'03"

cover by clive graham
lettering by steven stapleton
released 2000

jewel case cd with 4 page booklet

acezantez:

giovanni cavallin - recorders, clarinets, saxophone
dubravko detoni - piano, harpsichord, celeste
fred dosek - electric organ, celeste, glockenspiel
veronika durbesic - voice
daniel thune - viola, double bass, tuba.

croatian composer and pianist dubravko detoni is a name barely familiar to even the most hardened and fanatical followers of avant garde composition. although he has managed to consistently escape almost all forms of wider public recognition, detoni has, since 1970 - both in the solo context and with his acezantez ensemble - doggedly pursued a singular and unique musical path. drawing on the conventions and traditions of modern composition, avant garde electronics, musique concrète and group acoustic improvisation, and liberally embellishing them with breathtakingly idiosyncratic sonic inventions, detoni has carved for himself a body of work as toweringly significant as it is hopelessly obscure. this is the first time his music has appeared in western europe since his lp on the legendary philips prospective series.

as this long overdue and timely release shows, he is eminently deserving of the adulation and acclaim afforded his more celebrated contemporaries. the 5 pieces on this cd are all reissued from 3 lp's that appeared on jugoton in the mid 70s. the pieces explore a broad stylistic palette with a strong use of electric organ to create a manically conceived parade of sound effects, replete with passages of blinding instrumental clarity, and exuding his trademark sugary, almost campy melodic sensibility. elsewhere a strong sense of theatre mingles aggressively with brut sonic components - cross-fade drones, harshly clanging 'industrial' repetition - with musique concrète, and extensive cut-ups and manipulation of female voices.

brilliantly arranged and executed throughout, all five pieces display detoni's highly sophisticated ear for (at times), outrageous juxtaposition of instruments. acezantez fuse the intellectual awareness of the avant garde with influences drawn from theatre to create surreal and dreamlike settings, in a manner reminiscent of nothing so much as the early outwardbound experiments of nurse with wound (suitably the cover lettering has been done by steve stapleton).

remastered from original tapes, this could be the release to finally earn detoni the audience he so richly deserves. paradigm discs is proud to present the work of this hitherto neglected master for widespread contemporary re-evaluation.

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threads:
free-improvisation
sound-poetry
nww-list
electro-acoustic-composition

paradigm (uk) #pd 10 cd

“variations 3 - a london compilation” compact disc

syngen brown - ruckhousing (01.54)
syngen brown - rainer's corpse (02.20)
syngen brown - midland educational (02.17)
wits - live at the lewisham arthouse (14.32)
phil durrant - depths (04.37)
voltage - live at the klinker (13.56)
clive graham - time spool (14.02)
andrew king - ninety and nine (03.08)
aquiles pantaleao - three inconspicuous settings (12.25)
bob cobbing - alphabet of fishes (01.38)
bob cobbing - tan (03.15)
bob cobbing - insults (00.33)
hastings of malawi - boeuf en crut (02.08)

paradigm press release...

variations 3 - a london compilation (pd 10)

total time 77'39"

cover by clive graham
released 1998

jewel case cd with 12 page booklet

a third and final collection of lesser known & infrequently recorded artists living in london. considering its size, london is not well recognised as a centre for experimental and electronic music (at least not since the early 80's). additionally there is virtually no funding or support for this kind of music from within the system. consequently many composers and musicians who can fit in, work outside of the uk. naturally enough there are many diverse artists in london that carry on their work in isolation, both at home and within a great many unsupported clubs and venues. this cd covers my own personal favorite discoveries and rediscoveries since the release of variations 2 in 1997.

syngen brown
these 3 short pieces are the first releases by syngen brown. all the music is made using second generation sound sources in addition to his own environmental recordings.

wits
this is another debut. wits are 4 women (viv d. corringham, voice, electronics; sophia lycouris, movement; ashleigh marsh, keyboards, percussion; gina southgate, bric a brac), who specialise in live work. along with their use of conventional instruments (voice, electronics, keyboards and percussion), and a dancer, they also fill the stage space with a huge supply of everyday objects that are noisily explored and unravelled as an integral part of their audio-visual performances.

phil durrant
is best known as an improviser. mostly he plays violin in various ensembles and has featured on cd's with other improvisers including john butcher, chris burn, john russell, thomas lehn etc. he also works with analogue electronics, most recently with electronic improvisers mimeo. this piece was composed for a production of salomé given at st pancras chambers by the seven sisters group and uses analogue electronics.

voltage
are (moshi honen, guitar; sharon gal, voice, bass, toys; dennis austin, drums, percussion). this is an edited version of a live performance given at 'the klinker', one of london's longest running clubs for experimental music, film and poetry. this is their first available recording as voltage, although 2 of the members appear on mouthcrazy's 'open/open wide' on ass run vol.4.

clive graham
this recording is made from a variety of old half inch and quarter inch tapes that i have had lying around for quite some time. the last 5 minutes of this piece was previously issued on the wire magazine's subscription only cd 'the wire tapper 4' in august 1999.

andrew king
is one of the few young members of the traditional song forum, who specialise in the furtherance of traditional folk music within the british isles. he has previously released a cd of songs called 'the bitter harvest' (available via world serpent), that dwelt on the darker and less joyous stories within the folk tradition. this piece is from an american source and dates from the late 19th century and is for voice and harmonium. recorded at retina studios, september 1999.

aquiles panteleao
is a brazilian born composer who is completing his phd in electroacoustic music at city university. in 1998 this piece was awarded a distinction at the ars electronica music competition in linz.

bob cobbing
3 pieces from this senior member of the poetry and sound poetry scene, the earliest of these pieces dates from 1964. all 3 pieces were recorded at a reading given at the lewisham arthouse on 9.1.99.

hastings of malawi
are (john grieve, dave hodes, heman pathak). this extract was taken direct from the lp 'vibrant stapler obscures characteristic growth' that came out in 1980. most of the original 1000 copies were eventually destroyed, with around 300 copies that were actually sold. most of the sales would have been through the united dairies mail order list, who were probably their only outlet. all members of this group were involved one way or another in the very earliest nurse with wound records.

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paradigm (uk) #pd 07 cd

brast burn “debon” compact disc

debon part 1 (22.38)
debon part 2 (22.28)

paradigm press release...

brast burn - debon (pd 07)

total time 45.56 mins

debon was originally released on voice records, vo-1001

reissued 1998

...

in reference to the brast burn & karuna khyal reissues :

on this occasion paradigm discs has decided to reissue 2 lp's of what can only be described as rock music, minus the drum kit. these two records are something of a mystery. no group information was ever given, and no production date or location is indicated. it would seem though, that these records are both by the same group of japanese people and that they were recorded in the mid seventies in japan. in common with magical power mako, the musical influences here are much more germanic than anything japanese, with long hypnotic free form rock hysteria, comparable to faust in the use of experimentation and heavily fuzzed electric guitar. the emotional wordless vocals echo those of damo suzuki from can. but unlike can the rhythms are wrought from hand drums, sleigh bells, tambourine, bass drum and other simple means. hard blown harmonica is a strong feature on this somewhat crazed mantric rock along with recorder, flute, zither, mandolin, acoustic guitar and synth. there is also a strong use of tape loops, electronics, environmental sounds, backwards tapes and what sounds distinctly like the hysterical laughter of stan laurel.

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threads:
psych-prog
nww-list
electro-acoustic-composition
1970s-electronic
outsiders-deviants

paradigm (uk) #pd 06 cd

anal magic / rev. dwight frizell “beyond the black crack” compact disc

black crack and the sole survivors (12:36)
hot fudge (1:11)
get it out of your system (6:18)
chili supper polka (2:20)
journey of turtles (6:31)
pre-transformation of turtle to bird (5:27)
nocturnal (2:04)
fly by night (7:50)
o what joy it is to know you have a turtle heart (4:11)
embryonic music (3:34)
copulation of basilea and hyperion (4:50)
family, birth of helio and selene (6:47)
destruction - slaying of hyperion§drowning of helio§suicide of selene and the wandering madness of basilea (2:24)
how to avoid simultaneity (2:54)

paradigm press release...

anal magic & rev. dwight frizell - beyond the black crack (pd 06)

total time 69'07"

cover by kurt eckhardt and rev. dwight frizzell.
released 1998

jewel case cd with 12 page booklet

beyond the black crack was the concept of reverend dwight frizzell, a musician, film maker, doctor of metaphysics and minister in the universal church of life. it remains a little known classic, and one of the most unique listening experiences in modern experimental music.

recorded between 1974 and 1976 in locations as diverse as factories, the pyramid opposite harry truman's grave site as well as more 'conventional' concert settings. beyond the black crack is a dark, dizzying and exhilarating journey through free jazz, electronics and environmental sound, all shattered by frizzell's radical tape editing.

this cd re-release adds further material to the original lp: - "the wandering madness of basilea", a suite from 1977 unheard until now, as well as unreleased material from the black crack sessions.

beyond the black crack was originally released in mono in an edition of 200 copies by cavern custom in 1976 (cat. no. 6104-12), to commemorate the first annual end of the world celebration, november 18 1976.

black crack and the sole survivors are:

rev. dwight frizzell - tenor saxophone, clarinet, audio oscillator, chair, trash can, pins, soy beans
mike roach - clarinet, vocals with laughs, tenor saxophone, dancing
kurt eckhardt - mouth flute, percussion, pins, soy, alteration.

featuring special guests:

rev. tommy gomersall - tin cans, piano, vocals
rich - lights and percussion
rush rankin - clarinet, imagistic inspiration
rev. jim rogers - kazoo
gary jeffers - sousaphone, percussion
bill jones - sousaphone
sylvia thomas - harmonica
radio rich dalton - guitar
bill scanlan - percussion, tape machine; and many others...

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experimental-instruments
sound-poetry
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modern-composition

paradigm (uk) #pd 05 cd

“variations 2” compact disc

akemi ishijima - catalysis (13.38)
michael ormiston - hym (04.55)
tom wallace - brixtonquatrain (05.08)
hugh davies - strata (11.20)
bob cobbing & laurence upton - from domestic ambient noise (05.59)
john grieve - 251.3.04.222 (03.08)
clive graham - in tension (11.08)
rolf gehlhaar - cusps (16.46)

paradigm press release...

variations 2 - a london compilation (pd 05)

total time 72'07"

cover by clive graham.
released 1998

jewel case cd with 10 page fold out sleeve

akemi ishijima has so far had only one other work released on cd, although she has had many international performances and broadcasts. she is currently completing her phd at the centre for electroacoustic music studies at city university.

michael ormiston is a virtuoso khöömii singer with 3 tours of mongolia under his belt. this piece uses only the morin khuur, a traditional mongolian stringed instrument, but whilst the music here utilises the harmonic techniques so sacred to the mongolians, it also extends beyond its traditional origins. this is his first release on cd.

tom wallace is an independent composer who organises the sonomorph events in london. the 2 events so far have focused mainly on new acousmatic works by young composers, as well as free improvisation.

hugh davies is one of the first names in the academic world of electronic music. additionally, his involvement in music making extends from working on groundbreaking pieces with stockhausen in the mid 60's to playing in music improvisation company in the 70's, and working with borbetomagus in the 80's.

john grieve is the one artist to carry over from the first volume of variations. his statements are pure and direct. this is another piece for tenor saxophone.

bob cobbing and lawrence upton recorded live at the klinker. at the age of 77, cobbing is undoubtably britains foremost sound poet. previous recordings are thin on the ground and nothing much has appeared in the last 2 decades. he does however, give many performances across london, often with birdyak, (a trio with hugh metcalfe and lol coxhill.) upton has occasionally colaborated with cobbing since 1969.

clive graham is better known for his involvement in the live electronics group morphogenesis and the running of paradigm discs. this is his first solo recording.

rolf gehlhaar became stockhausen's personal assistant between 1967 and 1970 whilst at the same time he became a member of the stockhausen ensemble, with whom he toured and recorded extensively. since this time he has concentrated on composition and the performance of his own works. this culminated in 1985 with the development of a real-time remote gestural control system. it consists of a set of ultrasonic sensors that pick up the movements of the performer/s, the sensors are linked to a computer, running real-time sound synthesis or sampler control. the many applications of this system are collectively known as sound=space. over the years he has continued to return to the infinate flexibility of this system. additionally this piece is uhj encoded for ambisonic playback. he has been living in london since 1975.

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threads:
1960s-electronic
musique-concrète
minimalism-drones
electro-acoustic-composition
analogue-synth

best of 2006 !!!

paradigm (uk) #pd 04 cd

pauline oliveros “electronic music 1965/66” compact disc

i of iv [1966] (25.29)
big mother is watching you [1966] (33.45)
bye bye butterfly [1965] (08.02)

another fantastic reissue on the paradigm discs label, this one of pauline oliveros' seminal early electronic pieces, the first of which was her contribution to the classic odyssey lp that also introduced "come out" by steve reich and "night music" by richard maxfield onto a cold and generally uncaring world back in 1968. regardless of whether you understand the process or not, this is one of the classics of early (north) american electronic music ...

paradigm press release...

pauline oliveros - electronic music 1965/66 (pd 04)

total time 67'18"

cover by clive graham.
released 1997

jewel case cd with 4 page booklet
i of iv was made in july 1966 at the university of toronto electronic music studio and was first released by cbs alongside works by 2 other young composers - 'come out' by steve reich and 'night music' by richard maxfield. it is really only in recent years (born out of the more radical elements of dance music, electronica and ambient music) that music like this is being rediscovered by a growing number of people interested in all manner of experimental electronics. track 2 was also made in the summer of 1966 at the university of toronto electronic music studio, and track 3 was made at the san francisco tape music center in 1965. the 3 pieces on this cd are all live experiments, which at the simplest level use either an array of oscillators or filters, a mixer and one spool of tape feeding a series of (variously set up) stereo tape machines. long delay lines, pile ups of noise and rich sonorities are the stuff of this music. the third piece also samples a chunk of pucini's (sic) 'madame butterfly', which only makes this music seem even more contemporary. ...

i of iv was made in july 1966 at the university of toronto electronic music studio. it is a real time studio performance composition (no editing or tape splicing), utilising the techniques of amplifying combination tones and tape repetition. the combination tone techniques was one which i developed in 1965 at the san francisco tape music center.

the equipment consisted of

12 sine tone square wave generators connected to an organ keyboard.
2 line amplifiers
mixer
hammond spring type reverb
and 2 stereo tape recorders.

11 generators were set to operate above 20,000 hz, and one generator at below 1 hz.
the keyboard output was routed to the line amplifiers, reverb, and then to channel a of recorder 1.
the tape was threaded from recorder 1 to recorder 2.
recorder 2 was on playback only.
recorder 2 provided playback repeition approximately 8 seconds later.
recorder 1 channel a was routed to recorder 1 channel b, and record 1 channel b to recorder 1 channel a in a double feedback loop.
recorder 2 channel a was routed to recorder 1 channel a, and recorder 2 channel b was routed to recorder 1 channel b.

the tape repetition contributed timbre and dynamic changes to steady state sounds. the combination tones produced by the 11 generators and the bias freqiencies of the tape recorders were pulse modulated by the sub-audio generator."

big mother is watching you was also produced at toronto electronic music stufdio in the summer os 1966. it is another experiment using the techniques i developed whilst in san francisco. the core of this technique is tape delay and super heterodyning. this piece utilises a variety of sound sources including pink noise bands and some occasional voice input."

bye bye butterfly is a 2 channel tape composition (with an enclosure) made at the san francisco tape music center in 1965. it utilises 2 hewlett-packard oscillators, 2 line amplifiers in cascade, a turntable with record and 2 tape recorders in a delay setup. the composer arranged the equipment, tuned the oscillators, and played through the composition in real time.

$15.54

back in stock as of
march 31st, 2010

first in stock on
october 10th, 2006

threads:
1970s-electronic
musique-concrète
plunder-phonic
electro-acoustic-composition

best of 2006 !!!

paradigm (uk) #pd 03 cd

trevor wishart “beach singularity / menagerie / vocalise” compact disc

musical box (02.18)
vision (02.39)
still life (04.36)
feeder (03.38)
sardine candle (01.50)
aqualung (05.24)
spam guitar (02.37)
window box (03.18)
ark (03.45)
dreamer (04.43)
beach singularity (20.56)
vocalise (09.42)

reissue on the love-oriented paradigm discs label of one of my all-time favorite lps: trevor wishart's beach singularity b/w menagerie on the yes label (which also released wishart's "red bird" lp & "journey into space" k7, as well as the highly coveted "electronic music from york" 3lp set... of which if you happen to have a spare copy... i’m all ears) ...

the purely fried/zonked sounding apparatus on display throughout menagerie is of the highest order, akin to later sound-art experiments by folk like christian marclay, noto, etc ... frankly i find this stuff on par with only joe jones' solar-powered music (?) producing apparatus, a comparison i personally don't take very lightly. the sheer insanity of beach singularity only compounds matters further. so well worth your further investigation/time ...

paradigm press release...

trevor wishart - beach singularity / menagerie / vocalise (pd 03)

total time 65'33"

cover redesign by clive graham.
released 1997

jewel case cd with 16 page booklet

releasing electroacoustic music in this country has historically, always been a dedicated persuit. with no national record labels and very few electronic music studios to support this music, the uk has always lagged behind its counterparts in both the united states and throughout east and west europe. trevor started releasing his own music in 1973 and continues to do so to this day. much of this cd was originally privately released in 1979. whilst other maverick british composers (nyman, bryars, cardew etc.) chose to stay out of the electronic music studio, wishart and a few others, (starting out in 1961 with the pioneering lp of musique concrète by desmond leslie), took the plunge. this cd comprises a complete reissue of the 1979 lp with an additional 4 menagerie pieces added to the 6 on the original release, plus an improvised solo vocal piece recorded at the old recommended records shop in london on 30th march 1991.

beach singularity was performed on the beaches at morecambe, cleveleys, st. annes, and southport in the summer of 1977.

the palm beach orchestra is:

poppy holden - vocals;
lyn dobson - saxophones;
melvyn poore - tuba;
robin coombes - clarinet;
dick witts - percussion, vocals;
martin mayes - horn, vocals;
trevor wishart - tapes, miscellaneous vocals.

...

menagerie: during 1974 trevor wishart asked a number of well-known british performance-artists to build small assemblages for an exhibition in which each object would be accompanied by appropriate taped sounds. the exhibition, consisting of 11 assemblages, was first prepared for the birmingham arts laboratory, and presented there in january 1975. the accompanying tapes were all made in the york university electronic music studio by trevor wishart. previously released on lp in 1979.

beach singularity: arriving unannounced on the beach in their strange costumes they erected a maze. then they proceeded to play at first straighforward popular seaside tunes, but as an audience gathered their music developed a bizarre twist, with additional sound-effects, tape-collage & electronics provided from prerecorded cassettes played througha portable loudspeaker system. finally, at certain periods, various kinds of experimental music, from free improvisation to pure tape-pieces, were played at the center of the maze. this piece represents edited extracts from the full days performance. beach singularity was performed on the beached at morecambe, cleveleys, st. annes, and southport in the summer of 1977. previously released on lp in 1979.

vocalise: is an edited version of a live solo performance by trevor wishart given in the intimate shop space at recommended records, london on 30th march 1991. the piece was entirely improvised and does not utilise any electronics other than amplification. all the sounds were produced solely by extended vocal techniques

previous record label:
pan

...and that's everything on paradigm in stock.
(why not take a look at the previous and next labels?)

next record label:
pataphysique

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... this page was last updated on friday, february 10th, 2012 @ 6:25 pm