So, I began with thoughts of focussing on Experimental Electronic Music and like most went down the route of the standard history that everyone charts.
As some of you by now will realise, although I do post a lot about the well known electronic artists, genres and histories, I also try to give those well under the radar a space to get their music heard or the genre a wider audience. This includes trying to bring to attention the scene in the rest of the world.
I had heard about Hugh Davies and his catalogue of ‘alternative electronic history’ but until today had not had a chance to explore further. So glad I did !
As I knew in my heart, there was and still is an alternative electronic music scene and one where many artists are quietly creating music unknown or ignored.
This is why I am reblogging this article as part of the Experimental Season, as many of the themes are still so relevant today and why Hugh Davies’ work is still vital as a challenge to the traditional historical theory.
Listening to the Soundcloud discussion is recommended as it gives an insight into roles of Daphne Oram ad Delia Derbyshire in the development of British electronic music and technology. Some interesting questions and answers.
Here is the original overview of the concert and presentation on Daphne Oram and Delia Derbyshire –
In February 2015, a concert of tape music works by Delia Derbyshire and Daphne Oram was staged as part of the Electric Spring Festival at University of Huddersfield. The concert was preceded by a public conversation between the curator of the concert, Dr James Mooney, and one of the festival’s artistic directors, Prof Monty Adkins. A complete recording of this pre-concert discussion is now available via SoundCloud: click here.
The conversation addressed the context of electronic music in Britain in the 1950s and 60s and included discussion of Hugh Davies, his self-built instruments and – in particular – his International Electronic Music Catalog. The tools and techniques of electronic music production in the 50s and 60s were discussed, as was the institutional context of the BBC Radiophonic Workshop, where both Derbyshire and Oram worked.
While simultaneously extolling the challenges and contingencies of archival research, Mooney and Adkins discussed the work of some of the key figures in British electronic…
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“The story of the genesis and development of electronic/electroacoustic music is often told in the same familiar way. Experiments in musique concrète in Paris and elektronische Musik in Cologne played a central role in European developments, while activities in New York such as those of the Columbia-Princeton Electronic Music Center, John Cage and his Music for Tape-Recorders group, and Louis and Bebe Barron are frequently proffered as the most prominent American contributions. These activities were significant, of course; but they were not the only progenitors of modern-day electronic music. There are many, many other ways in which the story of electronic music’s history and development could be told…
For example… What does electronic music look like if we focus on the contributions of individuals whose work is less widely known; less widely recognised? What happens if we step away from the Western European and North American institutions that are normally figured as central to the genesis and development of electronic music?
There are many ways in which an ‘alternative’ history could be framed. The purpose of this conference is to explore all possibilities; to focus upon different ways of telling the story of electronic music; to explore its alternative histories.”
The above is a brief outline but does not cover all the themes that could be explored. Please visit the site for further detailed information.
Here is the original piece which goes into detail about the theory and methodology behind the sound installations of Mendi and Keith Obadike.
Courtesy to SO! Amplifies for this article.
I was thinking about the Sounding Out post and about the Fluxus movement and here is a wonderful modern piece utilising the body as an instrument.
If you visit the Infinite Greyscale site here, you can read further about the release.
There is a great review at A Closer Listen and worth a revisit (as I did today).
I have posted previous reviews of the music of Strie but reading this review has led me to some great sonic discoveries which I will highlight .
Thanks to Headphone Commute for this review.
Iden Reinhart first appeared on the scene back in 2010, with her Sléptis debut on Soundscaping Records. I finally got a chance to properly cover Reinhart’s second release as Strië on Time Released Sounds back in 2012, and Õhtul was featured on Headphone Commute’s Best of 2012 list, Music For The Frosty Night When I Miss Your Warm Light. The third proper album from this somewhat mysterious artist is released courtesy of Serein records, and this time I must take a moment to allow the curtain of shadowy background remain, while I focus strictly on the music within.
The sound is immediately dear to my ears, with its lo-fi aesthetics, cinematic soundscapes, and noir-fi atmospheres. If the esoterically named hauntology style was indeed a real genre, Strië’s approach at production, composition, and sonic environment shall gain her a worldwide recognition among the purveyors of these moods. Shuffling textures, ringing telephones, somber pads, and, from what…
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Many thanks to Yeah I know it Sucks for leading me to Todays Discovery – p0stm0rtem