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Description: Exuberance/Ebullience, banter, possibly an interview, context and connection, the familiar, the strange.
Find: Symphonies of Treble, Words Of Expectation, stab, skronk, shimmer, sheen, The New Sound of Now, Ideas for Walls, pleasure, pith, Flutter and Wow, Motorik, cowbells, disco akimbo, at least one Cantankerous Singer, The German Language, shards of glass, Ethiopian Punk, organic, synthetic, sawtooths & squarewaves, Library Riffage, yesterday's recipes, the wrong speed, intentional static, floating, ethereal, time and timelessness.
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Artist | Track | Album | Label | Year | Comments | New | Approx. start time |
---|---|---|---|---|---|---|---|
Laurie Anderson | From The Air | Big Science | Warner Brothers | 1982 | Anderson's ingenious move, musically, was utilizing the vocoder not as a trick but as a melodic tool. It's the first thing you hear on Big Science, looped in "From the Air" like some bizarre man-machine synth. The rest of the track revolves around a circular pattern of blurted sax figures and hypnotic drums. There's virtually nothing about it that screams its age as Anderson intones a wry announcement from a (caveman) pilot of a plummeting flight. "There is no pilot," she speaks. "You are not alone. Standby. This is the time. And this is the record of the time." It's a metaphor for every frightening thing about 20th (and now 21st century) living you can think of, and in its spare way it's enough to scare you silly. | 0:00:00 (Pop-up) | |
Holger Czukay | Ode To Perfume = An Das Parfüm | On the Way to the Peak of Normal | EMI / Welt / Spoon / Grönland Records | 1981 | On the Way to the Peak of Normal is the third album by Holger Czukay, released in 1981 through Electrola. Features the Vocoder!!!! | 0:04:31 (Pop-up) | |
Siouxsie and The Banshees | Voices (On The Air) | Downside Up [B-Sides & Rarities Box Set] | Wonderland/Polydor | 1978 / 2004 | An investigation of voices... The first B-Side of Siouxsie & The Banshees (from Hong Kong Garden) Siouxsie: "With its Edgar Allen Poe styled words and spontaneously improvised music, this sets the tone for the shape of things to come for our b-sides and is what survived for our first official recording session for 'Hong Kong Garden'. All I knew before entering the studio was that I wanted to use an effect I'd heard on a Bowie b-side called 'Holy Holy'. That effect was backwards echo and ever since then I've had a great love for all things backwards." //// Severin: "I started writing the lyric for this after I'd seen the movie "The Haunted Palace", it reminded me of a book I'd just read 'Hashish, Wine & Opium' by Charles Baudelaire. I was intrigued by the idea of seeing sound & hearing colour. I later found out this is called Synesthesia. This version of the song comes from an aborted first session for 'Hong Kong Garden'. Polydor had suggested we use an American producer, Bruce Albertine. His background was in soul and country rock. He didn't know what hit him. We subsequently re-recorded 'Hong Kong' with Steve Lilywhite but kept this version as we felt it was unrepeatable." | 0:09:01 (Pop-up) | |
Noble Rot | Empire Of Iceboxes | Heavenly Bodies, Repetition, Control | Joyful Noise Recordings | 2023 | Released March 24, 2023... Toronto's "Noble Rot, is the studio project of Alex Edkins (METZ) and Graham Walsh (Holy Fuck). Their debut LP as Noble Rot, "Heavenly Bodies, Repetition, Control" shows Edkins and Walsh joyously stepping beyond the lines drawn by their previous work. "Heavenly Bodies" takes inspiration from film soundtracks, experimental noise, kosmiche muzik, ambient, psychedelia and more." Noble Rot [Bandcamp] | * | 0:14:34 (Pop-up) |
Prolapse | Fob.com | Ghosts of Dead Aeroplanes | Jetset Records | 1999 | 2 Vocals, 2 effects; one severe, one subtly loudspeaker-ish. "By way of slapping you about a bit and delivering quite precisely what you don't expect, Fob.com, the racingly harmonious and upbeat single, follows. Linda's oscillating vocal tone rides like some entirely mad but beautiful jet-ski over the pulsating wave of the music as Mick spouts his slightly whining Glaswegian in a manner not in the least bit similar to but easily as threatening as a Great White cruising beneath. The immaculate rhythm, pace and rhyming pattern to the track keep it hurtling along at a rate of knots and exemplify perfectly the sheer poetic genius Prolapse have been gradually honing all these years." Pointless Walks [Prolapse blog] | 0:19:23 (Pop-up) | |
Fad Gadget | Insecticide | Fireside Favourites | Mute | 1980 | Synth/Industrial/Electronic/Minimal music has always lent itself to excellent Vocal colourings. This is one of a multitude of examples. "Francis John Tovey (8 September 1956 – 3 April 2002), known also by his stage name Fad Gadget, was a British avant-garde electronic musician and vocalist. He was a proponent of both new wave and early industrial music, fusing pop-structured songs with mechanised experimentation. //// As Fad Gadget, his music was characterised by the use of synthesizers in conjunction with sounds of found objects, including drills and electric razors. His bleak, sarcastic and darkly humorous lyrics were filled with biting social commentary toward subjects such as machinery, industrialisation, consumerism, human sexuality, mass media, religion, domestic violence and dehumanization, often sung in a deadpan voice." | 0:23:55 (Pop-up) | |
Killing Joke | Wardance | Killing Joke | Editions EG | 1980 | Excerpt from a review on 'Post-Punk Monk' --- “This was a band that was bending the rigid metal framework of Krautrock in some new and darker directions. Those pounding, martial, yet motorik drums of Paul Ferguson were straight from the Klaus Dinger playbook. You may be aware that we melt before the urgency of Krautrock rhythms here at PPM. But Jaz Coleman’s vocals on the biting “Wardance” were run through a ring modulator, making it sound like a Dalek-led version of Neu! It took a strong vision to imagine this abrasive song as a single, yet it ultimately was." | 0:27:15 (Pop-up) | |
Music behind DJ: New Age Doom, Lee "Scratch" Perry (Remixed by Ian Blurton) |
Conquer The Sin (Repenter Version) |
Remix the Universe (Expanded Version) |
We Are Busy Bodies |
2023 |
Released March 24, 2023. Echoed-out dubby vocal effects here, in true Perry fashion. Ian Blurton is a fixture of the Toronto scene (Neon Rome, Cowboy Junkies, Change Of Heart, Blurtonia, C'Mon, et. al), and remixes one of the tracks from Lee "Scratch" Perry's last album, itself a collaboration w/ Vancouver's New Age Doom... From the desks of We Are Busy Bodies: "We Are Busy Bodies presents Remix The Universe, a compilation of new perspectives on The Upsetter’s final collaborative album, 2021’s acclaimed Lee “Scratch” Perry’s Guide to the Universe by New Age Doom. /// Remix The Universe features new versions by artists from the post-hardcore, experimental hip hop, indie rock, EDM and ambient spheres. From the dancefloor-ready groove of South Africa’s BLK JKS, to the head-banging fuzz-dub of Quicksand, and Nick Reinhart’s experimental exploration" -- This track is from the new expanded version. Remix the Universe (Extended Edition) [Bandcamp] |
* |
0:31:00 (Pop-up) |
Apparat Organ Quartet | Stereo Rock & Roll | Apparat Organ Quartet | 12 Tónar | 2002 | Apparat Organ Quartet was founded in 1999 in Reykjavík, Iceland. n 2002, Apparat Organ Quartet released their self-titled debut album on the Thule Records label in Iceland; in 2005, the album was re-released on the Icelandic 12 Tónar label in a new remastered version. The second album of the band, Pólýfónía, was released on 9 December 2010 on 12 Tónar in Iceland, and in 2011 by the Danish label Crunchy Frog in Scandinavia. The band's sound has evolved from the atmospheric and minimalistic post-rock documented on the Kitchen Motors compilations "Nart Nibbles" and "Motorlab 2" to a more robust, riff-driven sound, with a mixture of Kraftwerk-inspired electronics, Daft Punk-like robot voices, and hard rock beats. They have been compared to such different acts as Kraftwerk, Wagner, Goblin, Terry Riley, Steve Reich, Sigur Rós, the Glitter Band, Stereolab and Trans Am. | 0:42:15 (Pop-up) | |
Kings Have Long Arms | Re-Enter The Two Tone Deaf | Re-Enter The Two Tone Deaf 7" | Uncharted Records | 2002 | Kings Have Long Arms are an English "rocktronica" act, formed in Sheffield and masterminded by Salford-born Adrian Flanagan. Kings Have Long Arms have collaborated with Philip Oakey from the Human League on the track "Rock and Roll Is Dead", Marion from the Lovers and Mira from Ladytron. Flanagan has since gone on to many excellent and wonderful projects including The Eccentronic Research Council and Moonlandingz. His current project is Acid Klaus, and highly recommended! | 0:46:20 (Pop-up) | |
Bruce Haack | Rita | Farad: The Electric Voice (comp) | Stones Throw Records | 2010 | There was certainly nobody like Haack, a pioneering creator of electronic musical gizmos and author of some of the weirdest kids’ music the world has ever heard. In 1969, the man built a vocoder, named it “Farad”, and started singing songs through it. Haack’s name has long been a talisman for electronic music freaks like Add N to (X) and Beck, and sometimes you can hear the influence. Haack’s only major label album, 1970’s Electric Lucifer, blends electro chirps with Farfisa psych and hippy-dippy lyrics, a mix that seemed prescient in the late ’90s when everybody got tired of angry guitar rock. it’s obvious why Haack is important in the annals of electronic music. Famous musicians dig him, he beat Kraftwerk to the musical vocoder punch, and he released two albums called Electric Lucifer. These are noble achievements, indeed. | 0:51:09 (Pop-up) | |
Trans Am | Television Eyes | Futureworld | Thrill Jockey | 1999 | It is the end of the century. We are all afraid. And then Trans Am releases an uncompromising, challenging album of ripping motorik grooves and synthetic vocals. It was the perfect album for the time, capturing angst, and embracing an uncertain future where machines and AI rule us all. They weren't wrong. Somewhere in a fantasy world, on green pastures of silicon motherboard, in clubs shaped liked RAM chips and transistors, Trans Am is the only rock band with soul, precision, licks, swagger, ambience, and good looks to boot. | 0:55:03 (Pop-up) | |
Add N to (X) | You Must Create | Add Insult To Injury | Mute | 2000 | U.K. synthesizer abusers Add N to (X) have spent years terrorizing their instruments to earn the reputation as one of the harder, creepier and freakier electronic outfits on this or any other planet. While You Must Create may emphasize texture over structure, it is a relentless groove with waves of sound built to get lost in as you nod in and out of conscious reality. Add N To (X) might be a band that is impossible to pigeonhole..but for that reason there is just so much about them to love... | 0:59:45 (Pop-up) | |
Music behind DJ: The Egyptian Lover |
Got To Get It |
1984 |
Egyptian Empire |
2015 |
We need to talk about the influence of the vocoder and talkbox on early electronic music, specifically Detroit Electro and techno, as well as its influence in hip hop and funk. Artists like Egyptian Lover, Dazz Band, Cybotron, Whodini, and more incoporated this sound into the musical lexicon and made it completely theirs. |
1:03:53 (Pop-up) |
|
Music behind DJ: Stevie Wonder |
Race Babbling |
Journey Through The Secret Life Of Plants |
Motown |
1979 |
Secret Life of Plants was a massive departure for Stevie Wonder and a hugely ambitious creative risk. It is the soundtrack to the documentary The Secret Life of Plants, directed by Walon Green, which was based on the book of the same name by Peter Tompkins and Christopher Bird. It has been called "goofy", "nerdy", "odd", "pointless" and "foolish", and for listeners and critics it was seen as too much of a departure from his string of melodic albums. However, some critics have also described it as "courageous", "achingly sweet", and "bafflingly beautiful". Berry Gordy lamented "the one million copies we pressed turned out to be 900,000 too many" |
1:07:46 (Pop-up) |
|
Coil | Disco Hospital | Love's Secret Domain (30th Anniversary 2021 Remaster) [Bonati] | Wax Trax! Records | 1991 / 2021 | Samplers & Vocals = the modern day cut-up. "The recording sessions for Love's Secret Domain were characterized by Coil's compulsive drug use at the time, along with sleep deprivation which apparently led to conflict between members; Peter Christopherson remarked that '[he could] remember Balance and Steve having these mad arguments that would go on for 48 hours without sleep over which sequence of words should be used'. In a period of constant drug use during the sessions, they both struggled with using the studio mixing room due to constant hallucinations of '10 foot tall Amazonian warriors and Babylonian kings' who were 'crowding' the room. Stephen Thrower admitted he had experienced synchronized hallucinations with Balance during this period. The album's emphasis on sampling was inspired by the acid house scene, although it is less explicitly indebted to the dance style than the contemporaneous work of Psychic TV." | 1:15:56 (Pop-up) | |
The Fall | 4 1/2 Inch | Levitate | Artful | 1997 | Chopped up, multi-effected, mulit-panned, multi-layered vocals, all competing against each other & running amok through this track, a chaos and multiplicity of Mark E. Smith(s) - I love it! One of my favs. From the "Annotated Fall" website: "According to Simon Ford's Hip Priest, the song got its name "because it half-reminded Smith of industrial rockers, Nine-Inch Nails" (252). An earlier version is simply called "Inch," however. This is a tough one as far as the lyrics go, because the vocals are layered (it is my understanding that the version from the Lyrics Parade--which I reproduce above--is a transcription by fans rather than something that the band published). As far as interpretation goes, it's even tougher, and probably isn't meant to be explained. Rather, these lyrics are a good example of MES letting the language take over, which is often the goal of Fall lyrics, but this one just jumps right into the deep end and never looks back. The effect at times achieves what passes for poetry in the Fall universe--a pile of verbal imagery that somehow achieves sublimity without being mediated through the discipline of poetry. It's not altogether uncommon for rock lyricists to write like that (in a very general way, of course nobody else could be mistaken for MES) but I think it is not very common for this method to result in such exalted creations as we get in the very best Fall lyrics (I wouldn't put this song in that category, since you asked, but these are formal considerations and I am speaking in generalities). It's hard to imagine a phrase as ridiculous as "ecstatic midges" fitting so comfortably into the canon of a truly great lyricist other than MES, but here we have it, and that's where it fits." | 1:18:08 (Pop-up) | |
Primal Scream | Stuka | Vanishing Point | Reprise Records | 1997 | Lovely vocal fx here. This album is the one that made me realise that Primal Scream had something more "teethy" to offer & was when I first started following them keenly. "Vanishing Point is the fifth studio album by Scottish rock band Primal Scream. It was released on 7 July 1997 in the United Kingdom by Creation Records and in the United States by Reprise Records. It peaked at number 2 on the UK Albums Chart. The album shows inspiration from genres such as dub, ambient, dance music, and krautrock, as well as bands such as Motörhead, Can, and the Stooges. It was the band's first album to feature Gary 'Mani' Mounfield on bass, formerly of the Stone Roses, although Marco Nelson played bass on "Burning Wheel", "Star", "If They Move, Kill 'Em'", and "Stuka". Other guest appearances on Vanishing Point include Augustus Pablo, Glen Matlock, and the Memphis Horns. //// Gillespie has described the album as an anarcho-syndicalist speedfreak road-movie record. It is named after and inspired by the 1971 film Vanishing Point, especially the song "Kowalski", which is meant to be an alternative soundtrack of the movie. Lead singer Bobby Gillespie said, "The music in the film is hippy music, so we thought, 'Why not record some music that really reflects the mood of the film?' It's always been a favourite of the band, we love the air of paranoia and speed- freak righteousness. It's impossible to get hold of now, which is great! It's a pure underground film, rammed with claustrophobia."" | 1:22:07 (Pop-up) | |
David Byrne & Brian Eno | Mea Culpa | My Life In The Bush Of Ghosts [Expanded] | Sire / Nonesuch | 1981 / 2005 | Features: " – inflamed caller and smooth politician replying, both unidentified; radio call-in show, New York, July 1979." //// David Byrne says [excerpt from a 2005 essay on the making of the album]... "Brian had previously begun work on some recordings that incorporated found voices, and he brought these to the table - one of these pieces became Mea Culpa- it already had layers of vocal loops. There were some instrumental tracking recordings made in NY at this point which I was part of- and these were really Brian’s instigations. It was maybe around about this point that the imaginary culture idea resurfaced. We knocked around the idea of isolating ourselves in the California desert and emerging after a while with a finished record, which we would say wasn’t ours. We did go out to California, but only to LA, which is where the project began in earnest- I believe it was there that we both realized that the “found vocal” idea would be the thread that would pull the record together. We also abandoned the imaginary cultural artifact idea too- at least explicitly, though I suspect this fantasy continued to guide us in a subconscious way. I suspect the found vocal idea also appealed to us as it eliminated any conflict or competition between us as singers..." | 1:27:49 (Pop-up) | |
Music behind DJ: David Byrne & Brian Eno |
Mea Culpa |
My Life In The Bush Of Ghosts [Expanded] |
Sire / Nonesuch |
1981 / 2005 |
Features: " – inflamed caller and smooth politician replying, both unidentified; radio call-in show, New York, July 1979." //// David Byrne says [excerpt from a 2005 essay on the making of the album]... "Brian had previously begun work on some recordings that incorporated found voices, and he brought these to the table - one of these pieces became Mea Culpa- it already had layers of vocal loops. There were some instrumental tracking recordings made in NY at this point which I was part of- and these were really Brian’s instigations. It was maybe around about this point that the imaginary culture idea resurfaced. We knocked around the idea of isolating ourselves in the California desert and emerging after a while with a finished record, which we would say wasn’t ours. We did go out to California, but only to LA, which is where the project began in earnest- I believe it was there that we both realized that the “found vocal” idea would be the thread that would pull the record together. We also abandoned the imaginary cultural artifact idea too- at least explicitly, though I suspect this fantasy continued to guide us in a subconscious way. I suspect the found vocal idea also appealed to us as it eliminated any conflict or competition between us as singers..." |
1:32:42 (Pop-up) |
|
Cylob | Rewind - Vocal | Cymply The Best 93-01 | Cylob Industries | 2014 | Chris Jeffs (born in 1976), best known by the stage name Cylob, is a British electronic musician and producer closely associated with Aphex Twin. He has produced seven albums, three compilations and a number of remixes.[ His career evolved after he gave a demo tape to Aphex Twin at a gig in early 1993, who subsequently signed Jeffs to his Rephlex label a short time after. Since his debut, he has released 13 singles and 5 albums on Rephlex, in addition to the EP Spider Report for Breakin' Records. Unfortunately he no longer produces music due to issues with tinnitus. | 1:39:38 (Pop-up) | |
Giorgio Moroder | First Hand Experience In Second Hand Love | From Here To Eternity | Island | 1977 | One of THE most important disco records ever released...and by the architect of the sound of the future. First Hand Experience is like seeing God on the dancefloor...sleazy, playful, charming, angelic, transcendent, and very, very sexy. Moroder is an interesting case because he sidesteps most "disco sucks" arguments due to the fact that he did write his own stuff, did produce it, and even went to so far as to design much of his studio. Like Kraftwerk, he had long been interested in the possibilities of electronic music in pop, and with partner Pete Bellotte, used his background in pop songwriting and arranging to forge one of the most successful production partnerships of the 70s. At their Musicland studios in Munich, Germany, the pair made their greatest claim to fame making records for Donna Summer, though Moroder also worked with Sparks, Blondie, and Japan, among dozens of others. ALL HAIL MORODER! | 1:42:49 (Pop-up) | |
Pan Pan, Melantini | Χτύπα με σαν ρεύμα στην πίστα | Χτύπα με σαν ρεύμα στην πίστα / Σεμπάστιαν 7" | Floriko Party | 2021 | "Hit Me Like Electricity On The Dancefloor" Pan Pan was born and lives in Athens, GR. He makes music with synths and samplers and stomp pedals and tape recorders that he has collected throughout the years. "The Ghost Boy leaves behind the endless dawn and goes from the morning stupor, to the routine of the day, to the evening revelry." | 1:47:40 (Pop-up) | |
I Monster | Heaven | Neveroddoreven | Dharma Records | 2004 | Monster was born in 1998. The gentlemen responsible are Dean Honer (Add N to X) and Jarrod Gosling. They specialise in a sort of left field psychedelic, new wave, electronic pop, sort of. They are from Sheffield. Jarrod has many, many organs and is also in Cobalt Chapel. I Monster are fantastic and I urge everyone to check out their impressive catalogue. This song beautifully demonstrates how otherworldly and gorgeous a vocoder can be when used to great effect in creating a romantic vibe. | 1:51:36 (Pop-up) | |
Music behind DJ: Boards Of Canada |
In A Beautiful Place Out In The Country |
In a Beautiful Place Out in The Country-EP |
Warp Records |
2000 |
Boards of Canada are not from Canada. The are are a Scottish electronic music duo consisting of brothers Michael Sandison and Marcus Eoin, formed initially as a group in 1986 before becoming a duo in the 1990s. Both brothers attended the University of Edinburgh, where Michael studied music and Marcus studied artificial intelligence, though Marcus dropped out before completing his degree. They are best described as ""a hazy sound of smeared synth-tones and analog-decayed production, carried by patient, sleepwalking beats, and aching with nostalgia" while crediting them with "reinvent[ing]" elements of psychedelia through the deliberate misuse of technology".... |
1:55:27 (Pop-up) |
|
Pete Drake | Forever | Pete Drake and His Talking Steel Guitar 7" | Philips | 1963 | Pete Drake was not the first, but definitely one of the first...and while this is not by definition, a vocoder...it still counts! His innovative use of what would be called the talk box, later used by Peter Frampton, Joe Walsh, Roger Troutman and Jeff Beck, added novel effects to the pedal steel guitar. The album Pete Drake and His Talking Steel Guitar harkened back to the sounds of Alvino Rey and his wife Luise King, who first modulated a guitar tone with the signal from a throat microphone in 1939. In his words: "You play the notes on the guitar and it goes through the amplifier. I have a driver system so that you disconnect the speakers and the sound goes through the driver into a plastic tube. You put the tube in the side of your mouth then form the words with your mouth as you play them. You don't actually say a word: The guitar is your vocal cords, and your mouth is the amplifier. It's amplified by a microphone." | 2:00:49 (Pop-up) |
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@Scott 77 degrees feels nice but have some water nearby
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Listening in my new digs while cooking up some din din.
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There was a really good Agnes Varda one in the last season.
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