Saturday 8 April 2017
Friday 7 April 2017
Lambchop - Live Bowery Ballroom NY (30/3/17)
Setlist:
01 NIV
02 The Hustle
03 Directions to the Can
04 Poor Bastard
05 Old Masters
06 Writer
07 [banter – physical comedy]
08 In Care Of 8675309
09 [band introductions]
10 The New Cobweb Summer
11 [banter – build character]
12 Howe
13 JFK
14 Relatives #2
15 Harbor Country
16 [encore break]
17 My Blue Wave
18 When You Were Mine [Prince]
Download
Thursday 6 April 2017
The Can Project: Interviews with Irmin Schmidt, Gregor Schwellenbach & Rob Young
+
CAN to release singles set
The tracks are all presented in their original single version, many of which have been unavailable for many years and not presented outside of the original 7" release.
The triple vinyl comes packaged in a trifold sleeve, decorated with a beautiful spot gloss lamination, and is designed by the award winning Julian House from Intro, a long time design collaborator of Can's.
CAN - THE SINGLES - TRACKLISTING:
Soul Desert
She Brings The Rain
Spoon
Shikako Maru Ten
Turtles Have Short Legs
Halleluwah (Edit)
Vitamin C
I’m So Green
Mushroom
Moonshake
Future Days (Edit)
Dizzy Dizzy (Edit)
Splash (Edit)
Hunters And Collectors (Edit)
Vernal Equinox (Edit)
I Want More
...And More
Silent Night
Cascade Waltz
Don’t Say No (Edit)
Return
Can Can
Hoolah Hoolah (Edit)
https://mute.com
https://spoonrecords.com
https://irminschmidt.com
https://gormenghastopera.com
Turtles have Short Legs
Wednesday 5 April 2017
Tuesday 4 April 2017
Fergus Kelly - Scenes Unseen
This piece celebrates Wire's 40th anniversary, which fell on the 1st of April, the date of their first gig as a four piece in 1977, at The Roxy.
It's a light-hearted, affectionate tribute which takes edits of songs from the first phase of activity ('77 - '80) as a springboard, tapping into various suggested cultural reference points, and interviews with the band, which are threaded through with humourous asides via Max Wall, Peter Cook & Dudley Moore, Monty Python, Steptoe & Son etc., the music of The Beatles, Captain Beefheart, Roxy Music, Small Faces, Frank Ifield, Helen Shapiro and other conceptual/thematic tie-ins.
For example, my way of deciding on what elements of field recording to include were to scan lyrics and draw out some salient aspects. The image of water features a fair bit, a train (Other Window), fireworks (French Film Blurred), shark ('A dorsal fin breaks the water..'), but instead of an actual shark recording, I used some of the Jaws soundtrack.
There were some unintentional synchronicities, such as when Colin is talking about The 15th, and the clip about decimalisation happening on the 15th of February 1971.. which also ties in with the fact that he says 'if I had a pound..' Cut to Taxman, cut to Rob's redundacy, cut to Cream (as Rob was a Ginger Baker fan), cut to Heartbeat, as Rob is the heartbeat of the band... and so on. I used some of Ligeti's music too, suggested by the fact that Colin remarked in Kevin Eden's Wire biography about MikeThorne's breadth of producer's experience encompassing everything from 'Ligeti to X-Ray Spex'.
The decision to limit the Wire source material to the first phase was taken for a number of reasons: firstly, in time-honoured Wire tradition, to keep it simple. Secondly, it's the period where I initially discovered them, via a schoolfriend who lent me a copy of 154, and my head was turned.
The spaces opened up by this record, musically and lyrically, were places I wanted to inhabit. I felt in my element. I was smitten. Gilbert & Lewis' inscrutable and intriguing cover design, coupled with Dave Dragon's art direction created an artifact that seemed to fit the music perfectly, but not in a literal way. I loved the openness and clarity of the Futura Medium font used for the lyrics.
Thirdly, the piece marks the 40th from the point of view of origins rather than an exhaustive overview. Something more chronologically comprehensive would've taken me considerably longer. Anyway, more than enough of a rich seam to mine in the first phase !
The piece functions more like a radio play or film for the ears, with a cast of characters that enter and leave at various points. The song edits are deliberately brief, which ties in with Wire's charcteristically stripped approach. They enter the scene, then exit stage left. There are jump cuts, cross-fades, subtle layerings, superimpositions, cross-hatches, buried fragments, partial echoes, glimpses, traces, imprints - parts of which will not be immediatley obvious on first listen. It's woven densely as a rich plunderphonic tapestry. A filmic trawl through various points and connections, a sonic constellation.
The title functions on a number of levels for me: on a basic level, it refers to the idea of a radio play being literally scenes you don't see, but hear. The strip-mining and re-combining of older Wire material to make 'new' tunes – ore from yore - could be taken as scenes unseen (harvesting the Harvest years). On a general level, the orchestration of all sources creates unique scenes.
There are also the theatrical echoes within the cover of Chairs Missing, with curtains framing the flower adorned table, lyrical echoes, 'never lacked a sense of theatre..', 'please don't turn a deaf ear..' 'symphonic in persuasion' and the 'unseen ruler'. Wire also famously flirted with absurdist theatrical elements at the end of the first phase, as captured on the Document & Eyewitness live album
+
Bovine Oboes (for Bruce Gilbert)
From sixty seconds to sixteen minutes and sixteen seconds, this piece made to mark Bruce's 70th moves away from my approach to the one I did for his 60th. It mines a number of sources mentioned in Kevin Eden's 1991 Wire biography, Everybody Loves A History - music he grew up with, the songs of Lena Horne and Frank Sinatra, and the music, pre-Wire, that influenced him in his 20s, such as Captain Beefheart and Roxy Music. I used these as a springboard to create electronic soundscapes, twisting and stretching edits and loops I'd made in Samplr on my iPad. Some edits were left recognisable, and form some of the rhythmic and melodic content, as well as serving as cultural reference points. The title is made from two halves of two anagrams derived from Bruce's albums Ab Ovo and In Esse. As a gift for Bruce, the piece was put on a 3” CDR sprayed white, with a cover design aping the periodic table, with the element number being Bruce's age, and the scientific number being his birthdate. Not sure how I hit on the idea, but there's a nice link with the fact that Bruce's album, Ordier, was released on US label Table Of The Elements.
Bruce had a fondness for war movies in the 70s, so that gave me free reign to explore various war noises and related references, including the theme tune from the 70s TV series The World At War. I wanted to broaden the mise-en-scene of the piece by including ads and sig. tunes from some 70s programmes, the shipping forecast, Monty Python, and some of my own field recordings to further enrich this plunderphonic tapestry. Some points of reference in terms of compositional methodology for me were elements of John Moran's 'The Manson Family, An Opera', Nurse With Wound's 'Sylvie & Babs', and early 80s Touch compilation tapes, with their penchant for odd confections of media snippets, loops and field recordings. Though not a conscious ploy, one of the Beefheart songs that I used, Veteran's Day Poppy, forms an interesting link with the WWII references.
Some of the TV sig. tunes and ads get a bit of a space theme going, what with the appearance of The Clangers, Star Trek and Dr. Who, as well as the spoof sci-fi ad for a popular freeze-dried potato product, Smash (also a post-Bruce Wire song title). The William Shatner voice-over snippets, “to explore strange new worlds”, and “to boldly go where no man has gone before”, can be taken as a lighthearted allusion to Bruce's sonic explorations. Cross-hatching some of the Sinatra material with the Beefheart songs threw up some fruitful collisions – a drum break from Moonlight On Vermont happened to nicely underscore a vocal snippet from Moonlight In Vermont, sung by Linda Ronstadt (born same year as Bruce). Amongst the studio goofery from Beefheart's Trout Mask Replica used in the piece, the “I run on beans” edit was echoed with a 70s ad for Heinz beans (“Don't be mean with the beans Mum, beans means Heinz !”). Some of the elements in this piece are woven a bit deeper in the mix, and won't necessarily reveal themselves on first listen. Other elements move around the stereo field to create a sense of momentum in a soundworld I like to think of more in terms of a radio play or cinema for the ears. It must be heard on a decent hi fi with good stereo separation, or on good headphones – not computer speakers…
It's a light-hearted, affectionate tribute which takes edits of songs from the first phase of activity ('77 - '80) as a springboard, tapping into various suggested cultural reference points, and interviews with the band, which are threaded through with humourous asides via Max Wall, Peter Cook & Dudley Moore, Monty Python, Steptoe & Son etc., the music of The Beatles, Captain Beefheart, Roxy Music, Small Faces, Frank Ifield, Helen Shapiro and other conceptual/thematic tie-ins.
For example, my way of deciding on what elements of field recording to include were to scan lyrics and draw out some salient aspects. The image of water features a fair bit, a train (Other Window), fireworks (French Film Blurred), shark ('A dorsal fin breaks the water..'), but instead of an actual shark recording, I used some of the Jaws soundtrack.
There were some unintentional synchronicities, such as when Colin is talking about The 15th, and the clip about decimalisation happening on the 15th of February 1971.. which also ties in with the fact that he says 'if I had a pound..' Cut to Taxman, cut to Rob's redundacy, cut to Cream (as Rob was a Ginger Baker fan), cut to Heartbeat, as Rob is the heartbeat of the band... and so on. I used some of Ligeti's music too, suggested by the fact that Colin remarked in Kevin Eden's Wire biography about MikeThorne's breadth of producer's experience encompassing everything from 'Ligeti to X-Ray Spex'.
The decision to limit the Wire source material to the first phase was taken for a number of reasons: firstly, in time-honoured Wire tradition, to keep it simple. Secondly, it's the period where I initially discovered them, via a schoolfriend who lent me a copy of 154, and my head was turned.
The spaces opened up by this record, musically and lyrically, were places I wanted to inhabit. I felt in my element. I was smitten. Gilbert & Lewis' inscrutable and intriguing cover design, coupled with Dave Dragon's art direction created an artifact that seemed to fit the music perfectly, but not in a literal way. I loved the openness and clarity of the Futura Medium font used for the lyrics.
Thirdly, the piece marks the 40th from the point of view of origins rather than an exhaustive overview. Something more chronologically comprehensive would've taken me considerably longer. Anyway, more than enough of a rich seam to mine in the first phase !
The piece functions more like a radio play or film for the ears, with a cast of characters that enter and leave at various points. The song edits are deliberately brief, which ties in with Wire's charcteristically stripped approach. They enter the scene, then exit stage left. There are jump cuts, cross-fades, subtle layerings, superimpositions, cross-hatches, buried fragments, partial echoes, glimpses, traces, imprints - parts of which will not be immediatley obvious on first listen. It's woven densely as a rich plunderphonic tapestry. A filmic trawl through various points and connections, a sonic constellation.
The title functions on a number of levels for me: on a basic level, it refers to the idea of a radio play being literally scenes you don't see, but hear. The strip-mining and re-combining of older Wire material to make 'new' tunes – ore from yore - could be taken as scenes unseen (harvesting the Harvest years). On a general level, the orchestration of all sources creates unique scenes.
There are also the theatrical echoes within the cover of Chairs Missing, with curtains framing the flower adorned table, lyrical echoes, 'never lacked a sense of theatre..', 'please don't turn a deaf ear..' 'symphonic in persuasion' and the 'unseen ruler'. Wire also famously flirted with absurdist theatrical elements at the end of the first phase, as captured on the Document & Eyewitness live album
+
Bovine Oboes (for Bruce Gilbert)
From sixty seconds to sixteen minutes and sixteen seconds, this piece made to mark Bruce's 70th moves away from my approach to the one I did for his 60th. It mines a number of sources mentioned in Kevin Eden's 1991 Wire biography, Everybody Loves A History - music he grew up with, the songs of Lena Horne and Frank Sinatra, and the music, pre-Wire, that influenced him in his 20s, such as Captain Beefheart and Roxy Music. I used these as a springboard to create electronic soundscapes, twisting and stretching edits and loops I'd made in Samplr on my iPad. Some edits were left recognisable, and form some of the rhythmic and melodic content, as well as serving as cultural reference points. The title is made from two halves of two anagrams derived from Bruce's albums Ab Ovo and In Esse. As a gift for Bruce, the piece was put on a 3” CDR sprayed white, with a cover design aping the periodic table, with the element number being Bruce's age, and the scientific number being his birthdate. Not sure how I hit on the idea, but there's a nice link with the fact that Bruce's album, Ordier, was released on US label Table Of The Elements.
Bruce had a fondness for war movies in the 70s, so that gave me free reign to explore various war noises and related references, including the theme tune from the 70s TV series The World At War. I wanted to broaden the mise-en-scene of the piece by including ads and sig. tunes from some 70s programmes, the shipping forecast, Monty Python, and some of my own field recordings to further enrich this plunderphonic tapestry. Some points of reference in terms of compositional methodology for me were elements of John Moran's 'The Manson Family, An Opera', Nurse With Wound's 'Sylvie & Babs', and early 80s Touch compilation tapes, with their penchant for odd confections of media snippets, loops and field recordings. Though not a conscious ploy, one of the Beefheart songs that I used, Veteran's Day Poppy, forms an interesting link with the WWII references.
Some of the TV sig. tunes and ads get a bit of a space theme going, what with the appearance of The Clangers, Star Trek and Dr. Who, as well as the spoof sci-fi ad for a popular freeze-dried potato product, Smash (also a post-Bruce Wire song title). The William Shatner voice-over snippets, “to explore strange new worlds”, and “to boldly go where no man has gone before”, can be taken as a lighthearted allusion to Bruce's sonic explorations. Cross-hatching some of the Sinatra material with the Beefheart songs threw up some fruitful collisions – a drum break from Moonlight On Vermont happened to nicely underscore a vocal snippet from Moonlight In Vermont, sung by Linda Ronstadt (born same year as Bruce). Amongst the studio goofery from Beefheart's Trout Mask Replica used in the piece, the “I run on beans” edit was echoed with a 70s ad for Heinz beans (“Don't be mean with the beans Mum, beans means Heinz !”). Some of the elements in this piece are woven a bit deeper in the mix, and won't necessarily reveal themselves on first listen. Other elements move around the stereo field to create a sense of momentum in a soundworld I like to think of more in terms of a radio play or cinema for the ears. It must be heard on a decent hi fi with good stereo separation, or on good headphones – not computer speakers…
Kodwo Eshun: More Brilliant Than The Sun - Adventures In Sonic Fiction (1998)
Monday 3 April 2017
Horus Egyptian Ring given by Aleister Crowley to Austin Osman Spare's widow for sale on ebay
I bought this ring from UNIQUE2U who was selling the Gerald Gardner Witches Mill Collection when I contacted him over 10 years ago to buy this ring
The following links were sent to me when I asked about the authenticity regarding the ring from the previous owner's estate Tim Moroney who's website is still running:
http://tim-maroney.livejournal.com/45789.html - http://womzilla.livejournal.com/16648.html and may note that some links are missing.
Historically the ring was given by Aleister Crowley to Austin Osman Spare's widow then sold to The Park Antique Centre in Nottingham - the original letter of authenticity is included.
The pair seemed have a dynamic relationship and together composed Now for Reality which is included. The journey was a Celestial and Bestial identification using forces of Sexuality navigated by the operator who has developed themselves to the point of having found their True Identity and True Will.
A copy of the joint work by Crowley and Spare “NOW FOR REALITY” is being included to compliment the ring
$30,000 AUD. Hmmm
Sunday 2 April 2017
Everything Falling Apart Mix
Tracklist
1 Spiritual by Tom Verlaine
2 Snow by KTL
3 Evil Spirits / Angel Dust by Techno Animal
4 With Tired Eyes, Tired Minds, Tired Souls, We Slept (Peel Session) by Explosions In The Sky
5 V (Ambient/Ruin) by Gravetemple
6 Totally Boxed In by Ry Cooder
7 City of Fallen Angels by The Bug VS Earth
8 Glistening Glyndebourne by John Martyn
1 Spiritual by Tom Verlaine
2 Snow by KTL
3 Evil Spirits / Angel Dust by Techno Animal
4 With Tired Eyes, Tired Minds, Tired Souls, We Slept (Peel Session) by Explosions In The Sky
5 V (Ambient/Ruin) by Gravetemple
6 Totally Boxed In by Ry Cooder
7 City of Fallen Angels by The Bug VS Earth
8 Glistening Glyndebourne by John Martyn
The Artist Formerly Known As Captain Beefheart
"The Artist Formerly Known As Captain Beefheart" is a BBC documentary special about Captain Beefheart, hosted by the British radio DJ John Peel. The documentary was filmed in 1993, around the same time the BBC Television Tribute was filmed and was originally also intended to be a BBC 2 Late Show Special. Originally it would have been broadcast in 1994, but since the "BBC Late Show" was cancelled around this time production of the documentary was halted for a while. Eventually it premiered on BBC 2 on August 19, 1997, in the series "Rock Cults".
The documentary is narrated by John Peel and features archive footage and interviews with Frank Zappa, John French, Matt Groening, Jimmy Carl Black, Ry Cooder, Bruce Fowler, Doug Moon and Eric Drew Feldman. Beefheart himself wasn't interviewed. Zappa talks specifically about his teenage friendship with Beefheart, the production of Trout Mask Replica and the Bongo Fury period.
The documentary was repeated on BBC 2 on August 29, 1999, as part of a special tribute night to John Peel
+
Captain Beefheart & His Magic Band - Live Beat-Club (1972)
Captain Beefheart and the Magic Band (Paris 1980)
The documentary is narrated by John Peel and features archive footage and interviews with Frank Zappa, John French, Matt Groening, Jimmy Carl Black, Ry Cooder, Bruce Fowler, Doug Moon and Eric Drew Feldman. Beefheart himself wasn't interviewed. Zappa talks specifically about his teenage friendship with Beefheart, the production of Trout Mask Replica and the Bongo Fury period.
The documentary was repeated on BBC 2 on August 29, 1999, as part of a special tribute night to John Peel
+
Captain Beefheart & His Magic Band - Live Beat-Club (1972)
Captain Beefheart and the Magic Band (Paris 1980)
Saturday 1 April 2017
Friday 31 March 2017
Iain Sinclair: The Last London
Iain Sinclair walks around the city he can no longer write about.
Read Iain Sinclair in the LRB:
The Last London: http://lrb.me/xuk
Swimming on the 52nd Floor: http://lrb.me/mq0
The Raging Peloton: Boris Bikes: http://lrb.me/y8k
My Olympics: http://lrb.me/9g0
Read Iain Sinclair in the LRB:
The Last London: http://lrb.me/xuk
Swimming on the 52nd Floor: http://lrb.me/mq0
The Raging Peloton: Boris Bikes: http://lrb.me/y8k
My Olympics: http://lrb.me/9g0
Woebot: Force Field (Detroit Techno 1985-95) Mix
Tracklist:
Juan - Techno Music
Model 500 - Night Drive (Thru-Babylon)
First Bass - Seperate Minds
M 500 - Testing 1-2
Eddie "Flashin'" Fowlkes - Time to Express
Rhythim Is Rhythim - It Is What It Is
Model 500 - Off to Battle
Kevin Saunderson - Bounce Your Body To The Box
Reese and Santonio - The Sound
Kevin Saunderson - The Groove That Won't Stop
R-Tyme - R-Theme
Mayday - Wiggin
Suburban Knight - The Groove
Reese - Just Want Another Chance
Ocatve One - I believe
Symbols and Instruments - Mood
Model 500 - Wanderer
Blake Baxter - Sexuality
Eddie "Flashin'" Fowlkes - Goodbye Kiss
Reese - Funky Funk Funk
Suburban Knight - The Art of Stalking
Rhythim Is Rhythim - Emanon
Rhythim Is Rhythim - Kaos
Rhythm Is Rhythm - The Beginning
Psyche - From Beyond
Vice - Constant Ritual
Fade To Black - The Calling
69 - Ladies and Gentlemen
Bango - Wave The Rave Goodbye
Drexciya - Sea Snake
Underground Resistance - Predator
Underground Resistance - The Final Frontier
Carl Craig - Wrap Me In Its Arms
B.F.C - Please Stand By
Drexciya - Wavejumper
69 - Microlovr
Sueno Latino - Sueno Latino (Illusion First Mix)
Octave One - Nicolette
Psyance - EQ
Open House - Aquatic
Prototype - Biotic
Dark Comedy - War Of The Worlds
Kenny Larkin - Metropolis
Shop - Nitwit
B.F.C - Galaxy
Underground Resistance - Amazon
Paperclip People - Oscillator
MK - Feel The Fire
Derrick May -Icon
Urban Culture - Wonders of Wishing
Kosmic Messenger - Soundscape
UR - 046
The Martian - Search Your Feelings
Eddie "Flashin'" Fowlkes - Sex In Zero Gravity
Red Planet - Star Dancer
Robert Hood - Untitled 2
Psychic Warfare - Tails From The Crib
Jay Denham - People's Revolution
Millsart - Gateway Of Zen
Robert Hood - Museum
Dan Curtin - 3rd From The Sun
Morgan Geist - Stillway
Space - Envision
Via
Electronic Warfare: The Political Legacy of Detroit Techno
Thursday 30 March 2017
The Bug presents Killing Sound Chapter 7: Ambient Riff
If you don’t care for sheer weight, repetition, or drones, stay away from this heavyweight showdown.- Kevin ‘The Bug’ Martin
When Julian Brimmers approached me to put the Killing Sound radio shows together for RBMA, he generously invited me to reflect the full span of projects I had been working on, and will be working on in the future. So, Ambient Riff mirrors the work Dylan Carlson and myself had explored in L.A., in fact “Broke” from that Concrete Desert session was the track I mailed to the guitarists I invited to send me music for this particular show, as a reference, to send me suitably intense riffs. I guess I was attempting to construct a Metal stripped of its wack gloss trappings, no bad solos, no bad vocals, no bad theatre… I wanted it to feel like the heaviest rock, chopped and screwed and stretched into hypnotic scores for movies in my head that have yet to be made. Just as hearing the likes of Justin Broadrick in the Streetcleaner-era of Godflesh had cured me of my phobia against 6-string instruments (due to my Mum bombarding me with Deep Purple, Rainbow, Santana etc as a kid, lol), so it was the idea of guitar as eternally revolving dream machine, that appealed to me for this show. The people I approached here, for me, are masters of slow, and the finest purveyors of tone, who wield the axe like a brush, capable of excessive texture, fragility and violence in their impressionistic playing. They have all been doing their thing for a long time, so needless to say this set is just an extension of their research and developments. They have been melting down six strings into liquid drone for fun for years.
And as I def dig the three R’s – riff, repetition and resonance – with Ambient Riff, I wanted to put together a selection where, when you hear these tunes quietly, you can zone out horizontally, but when you turn the volume to 11, they will crush you mercilessly… The sound of rockets lifting off in slow motion, jets landing perpetually and speakers blown continuously.
So meditate on bass weight, get slayed by the mid range, and for best results wear headphones or play VERY f-ckin loud.
Enjoy
Tracklist:
1 The Bug vs Monolord – Fade Out (Unreleased)
2 The Bug vs Aaron Turner (Sumac) – Suicide Bridge (Unreleased)
3 The Bug vs Aidan Baker (Nadja) – Drugged (Unreleased)
4 The Bug vs Heather Leigh – Bardo Thodol (Unreleased)
5 The Bug vs The Body – Save our Souls (Unreleased)
6 The Bug vs JK Flesh – Lost at Sea (Unreleased)
7 The Bug vs Aaron Turner (Sumac) – Eschaton (Unreleased)
8 The Bug vs Nadja – The Stone (The Bug Remix) (Unreleased)
9 The Bug vs Fennesz – High (Unreleased)
10 Neil Young – Guitar Solo No. 5 (Vapor)
11 Earth – Seven Angels (Sub Pop)
12 Caspar Brötzmann/FM Einheit – Solingen (Thirsty Ear)
13 Brian John McBrearty – Let the Wind Guide You (Blue Tapes)
14 Ry Cooder – Paris Texas OST (Warner)
15 The Bug Vs Earth feat. JK Flesh – Pray (Ninja Tune)
16 Sunn 0))) – Richard (Southern Lord)
Credits: Written & produced by Kevin ‘The Bug’ Martin
Special thanks to Monolord, Aaron Turner (Sumac), Nadja, The Body, Heather Leigh, Justin Broadrick and Fennesz for their contributions
Ambient Riff: The Bug on Fusing Metal and Dub
ListenPreviously:
Part 1 (Dub Mutations)
Part 2 (Inner Space)
Part 5 (Radio Voodoo)
Part 6 (Blue)
So this is the last of these Killing Sound sessions.
Kevin did say to me that hopefully there will be another series maybe later in the year.
Fingers X'ed
UPDATE: Yep - just been informed by Kevin on FB that a new series has been agreed to
Ikue Mori - A Retrospective (1977-2016)
Ikue Mori is a vital figure on the 'Downtown New York Scene' and the international avant-garde community. She is a pioneer of the use of electronics in music.
Mori's career began as the drummer for DNA, one of the leading groups of New York's "No Wave" movement. Following her time with DNA, she began performing as part of the New York experimental community with notable figures such as John Zorn, Zeena Parkins, and Jim Staley. In the mid80's, she transitioned her primary instrument to the drum machine and immediately developed a highly distinctive sound and style, culminating in her first solo recordings in the mid90s. In 2000, Mori made the switch to laptop which opened a virtuosic depth and range to her electronics. Key groups at this juncture include Mephista and Phantom Orchard. She continues to release solo albums as well as perform and record with the top musicians and composers of the experimental community, constantly breaking ground at the forefront of the sonic arts
Tracklist:
DNA - NO NEW YORK, “Egomaniac’s Kiss” [0:00]
DNA - A Taste of DNA, “New Fast” [2:08]
John Zorn - Locus Solus, “You Only Live Twice, Mr. Bond” [3:20]
John Zorn - Locus Solus, “Locus Solus, Pts 1 & 2” [5:17]
Jim Staley - Mumbo Jumbo, “Untitled” [7:25]
Jim Staley - Mumbo Jumbo, “Untitled” [10:58]
Zeena Parkins - Ursa’s Door, “Flush” (excerpt) [13:03]
Tohban Djan - Poison Petal, “Asobi” [16:09]
Death Praxis - Mystery, “Metal Dream” [20:14]
Catherine Jauniaux and Ikue Mori - Vibraslaps, “Shiver” [22:37]
Ikue Mori, Marc Ribot, Robert Quine - Painted Desert, “Painted Desert” [25:37]
Ikue Mori - Hex Kitchen, “Slush” [30:47]
Ikue Mori - Garden, “The Pit & The Pendulum” [33:26]
Ikue Mori - B/Side, “Fortuno’s Song” [41:04]
Death Praxis - Mystery, “Demon In My View” [43:48]
Death Ambient - Synesthesia, “Way In” [47:07]
Ikue Mori - One Hundred Aspects Of The Moon, “Musashi Plain Moon” [49:31]
Ikue Mori - Labyrinth, “Labyrinth” [53:43]
John Zorn - Cobra: Game Pieces, Vol. 2, “Pendet” [59:11]
Mephista - Black Narcissus, “The Children’s Hour” [1:03:59]
Phantom Orchard - Phantom Orchard, “Contraband” [1:07:26]
Mephista - Entomological Reflections, “Fringe” [1:11:01]
Ikue Mori - Myrninerest, “Conflict” [1:12:51]
Death Ambient - Drunken Forest, “Lake Chad” [1:16:41]
Phantom Orchard - Orra, “Ship of the Damned” [1:21:25]
Ikue Mori - Class Insecta, “Luciol” [1:25:06]
Zeena Parkins - Double Dupe Down, “I Hardly Care” [1:29:02]
John Zorn - Rimbaud, “A Season In Hell” [1:30:27]
Phantom Orchard Ensemble - Through the Looking Glass, “Kaguya” [1:42:52]
Ikue Mori and Steve Noble - Prediction and Warning, “Montparnasse Derailment” [1:47:00]
Ikue Mori - In Light of Shadows, “Mozu #3” [1:50:23]
Ikue Mori & Sylvie Courvoisier - Miller’s Tale, “A Fountain Pen” [1:53:59]
Mori's career began as the drummer for DNA, one of the leading groups of New York's "No Wave" movement. Following her time with DNA, she began performing as part of the New York experimental community with notable figures such as John Zorn, Zeena Parkins, and Jim Staley. In the mid80's, she transitioned her primary instrument to the drum machine and immediately developed a highly distinctive sound and style, culminating in her first solo recordings in the mid90s. In 2000, Mori made the switch to laptop which opened a virtuosic depth and range to her electronics. Key groups at this juncture include Mephista and Phantom Orchard. She continues to release solo albums as well as perform and record with the top musicians and composers of the experimental community, constantly breaking ground at the forefront of the sonic arts
Tracklist:
DNA - NO NEW YORK, “Egomaniac’s Kiss” [0:00]
DNA - A Taste of DNA, “New Fast” [2:08]
John Zorn - Locus Solus, “You Only Live Twice, Mr. Bond” [3:20]
John Zorn - Locus Solus, “Locus Solus, Pts 1 & 2” [5:17]
Jim Staley - Mumbo Jumbo, “Untitled” [7:25]
Jim Staley - Mumbo Jumbo, “Untitled” [10:58]
Zeena Parkins - Ursa’s Door, “Flush” (excerpt) [13:03]
Tohban Djan - Poison Petal, “Asobi” [16:09]
Death Praxis - Mystery, “Metal Dream” [20:14]
Catherine Jauniaux and Ikue Mori - Vibraslaps, “Shiver” [22:37]
Ikue Mori, Marc Ribot, Robert Quine - Painted Desert, “Painted Desert” [25:37]
Ikue Mori - Hex Kitchen, “Slush” [30:47]
Ikue Mori - Garden, “The Pit & The Pendulum” [33:26]
Ikue Mori - B/Side, “Fortuno’s Song” [41:04]
Death Praxis - Mystery, “Demon In My View” [43:48]
Death Ambient - Synesthesia, “Way In” [47:07]
Ikue Mori - One Hundred Aspects Of The Moon, “Musashi Plain Moon” [49:31]
Ikue Mori - Labyrinth, “Labyrinth” [53:43]
John Zorn - Cobra: Game Pieces, Vol. 2, “Pendet” [59:11]
Mephista - Black Narcissus, “The Children’s Hour” [1:03:59]
Phantom Orchard - Phantom Orchard, “Contraband” [1:07:26]
Mephista - Entomological Reflections, “Fringe” [1:11:01]
Ikue Mori - Myrninerest, “Conflict” [1:12:51]
Death Ambient - Drunken Forest, “Lake Chad” [1:16:41]
Phantom Orchard - Orra, “Ship of the Damned” [1:21:25]
Ikue Mori - Class Insecta, “Luciol” [1:25:06]
Zeena Parkins - Double Dupe Down, “I Hardly Care” [1:29:02]
John Zorn - Rimbaud, “A Season In Hell” [1:30:27]
Phantom Orchard Ensemble - Through the Looking Glass, “Kaguya” [1:42:52]
Ikue Mori and Steve Noble - Prediction and Warning, “Montparnasse Derailment” [1:47:00]
Ikue Mori - In Light of Shadows, “Mozu #3” [1:50:23]
Ikue Mori & Sylvie Courvoisier - Miller’s Tale, “A Fountain Pen” [1:53:59]
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