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Sub Rosa recently issued recordings of Arkham’s concerts and rehearsals. Arkham played eclectic jazz and rock mixtures in the “Canterbury” vein, inspired by Soft Machine and Egg. Never released before on LP, the recordings reproduced on this album come from magnetic tapes of some of Arkham’s concerts and rehearsals, recorded at various times. Featuring keyboard player Jean-Luc Manderlier who would later join Magma, drummer Daniel Denis who would also move on to Magma as well as Univers Zéro, and drummer Patrick Cogneaux. Arkham aren’t nearly as dark as Magma or Univers Zéro, their jazzy overtones placing them a little closer to Soft Machine. The three musicians, who show some maturity, are obviously pouring their hearts out throughout the album, which exudes an intensity that can’t be ignored.

What were your first musical involvements? [Pre-Arkham]

Daniel Denis: At the age of 15 I replaced my brother who had to perform his military service. It was a group that performed dances and this served me as my first experience with musicians and also the opportunity to buy my first drums with the money I had earned. From 1968 to 1969 I was part of two groups, one amateur and the other semi-professional. Guys who played Hendrix, Cream, Yardbirds repertoire, and others, that was pretty unusual in the area at the time. School was becoming a burden and being part of a band made me quit school for good in order to devote myself to music. I was barely 16 years old. I had very understanding parents, it didn’t take me long to convince them. They could clearly see that I was totally “contaminated” by the music but still so naive about the route that still had to be climbed.

Arkham had a very unique sound. You were inspired by Soft Machine and Egg. What do you recall attracted you the most after hearing their music?

In August 1969, I saw a Soft Machine trio concert at the Festival de Billez in Belgium. Indeed, it blew my mind. The sound and the atmosphere of their music was quite extraordinary. I understood and felt that I wanted to move towards this musical form. The odd beats they used fascinated me and also the organ and bass with the overdrive, it was quite new to me. I also liked the formula of the trio: bass, keyboards, drums. Besides, I was also a big fan of the Mothers of Invention.

READ THE WHOLE INTERVIEW HERE

Alvin Lucier is one of the giant figures in experimental, electronic and electro-acoustic music, known for “making the inaudible…audible.” 

Last week, he turned 90, and the celebration included a 27 hour marathon of his most famous piece, “I Am Sitting In A Room.” The piece, first recorded in 1969, is very simple in concept but deceptively complex. It consists of a short passage of text, read aloud in a room. That sound is recorded and then played back into that same room, picked up by the same microphone, over and over, until the room resonancerenders the speech otherworldly and unintelligible. In fact, the instructions are the text itself:

“I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but, more as a way to smooth out any irregularities my speech might have.”

Lucier’s speech has long been defined by a stutter, which you hear in early recordings. Today, his voice has grown weak from more than a decade of Parkinson’s disease.

LISTEN HERE

Stella Chiweshe (Zim) + Bert Cools (b) at les ateliers claus on 3rd of December TICKETS 

Read a transcript of an interview conducted by Biba Kopf as part of an article on Neu! in The Wire 208, June 2001

Biba Kopf: Can we start right at the beginning. You and Michael were in this touring version of Kraftwerk?

Klaus Dinger: Ja.

What was happening? 

How do you mean what was happening?

It was you, Florian [Schneider] and Michael [Rother], wasn’t it?

Michael, eh hm. It was, overall and in general it was quite a nice situation, I think... quite a successful team, ja, quite a lot on the way at that time, for it was a very short period, several months only, but yeah, I liked it very much.

Was this pure improvisation, or were you working on songs?

We tried, and I think we quite well did, we tried to promote the first Kraftwerk album. We played these titles, like “Ruckzuck” or “Vom Himmel Hoch”, and so on, and we tried to do these live, mixed with, ja, but that sounded a bit different or so, I mean, compared with the originals on the LP. But it probably was much more live. You probably know this Beat Club recording, film (referring to this lineup’s TV appearance).

You never saw that?

Well, I’ve got a copy at home, but I heard it was available as a laser disc, as a bootleg, years ago already. Ja, what else can I say? Can you ask more precise... 

OK, you went on from Kraftwerk? Ralf Hütter rejoined Kraftwerk and then you and Michael started working on Neu!? Can you tell me how Neu! Came about, how it came out of that early lineup?

Ja, we separated from Florian, I think it was end of June 1971, ja, nice summer holiday I remember, “Im Gluck”. Ja, this story, Hanni [?? his then girlfriend, see further down] went to Norway and so on. It took quite some time, several months until we finally decided we would go on together. After we split it was all a bit undecided and open. For instance, Michael was not so sure about whether that was possible to do this. That was also about the time when he started studying Psychology as an alternative from the other side, or so... you know what I mean. Ja, in the meantime I somehow arranged that with [producer/engineer] Conny Plank that — and finally by the end of the year or so, we decided, and the opportunity was there to go into a studio in Hamburg, and we recorded the first album. Was that about what were asking for? [chuckles]

That’s the kind of thing, yeah. Did you have songs or did you just generate them in the studio?

Well partly we had songs, well not songs really, I mean sketches or so. But I think the most important things happened in the studio.

READ THE WHOLE INTERVIEW HERE

  • Klaus Dinger

Avant-garde in Belgium (1917-1978) 

1917-1926 

James Ensor : 'Discours prononcé à l'occasion de son exposition rétrospective au Palais des Beaux-Arts de Bruxelles en 1929'

[hide/show playlist]

  1. James Ensor : 'Discours prononcé à l'occasion de son exposition rétrospective au Palais des Beaux-Arts de Bruxelles en 1929'
  2. Pierre Bourgeois : 'Clément Pansaers, 1919, les roses rouges'
  3. Albert Lepage : 'Clément Pansaers, au Diable au corps (rue aux choux)'
  4. Pascal Pia : 'Clément Pansaers et James Joyce'
  5. Louis Aragon : 'Je pense à Clément Pansaers'
  6. Philippe Soupault : 'Clément Pansaers à Paris'
  7. Paul Neuhuys : 'Lettre de Clément Pansaers, l'opposition aux dadaïstes français et l'affaire du portefeuilles'
  8. Clément Pansaers Jr : 'Clément Pansaers, mon père'
  9. Paul Neuhuys : 'Clément Pansaers, les dernières lettres'
  10. Paul Neuhuys : 'La fondation de ça ira!'
  11. Franz Hellens : 'Tous les vents me traversent et Tastament'
  12. Robert Guiette : 'Henri Michaux et Camille Goemans'
  13. Henri Michaux : 'Ecce homo (issu de L'espace du dedans) lu par Gabriel Sèverin'
  14. Marcel Lecomte : 'Vers l'extra-littérature'
  15. André Souris : 'Correspondance'
  16. Marcel Lecomte : '1923'
  17. Marcel Mariën : 'Paul Nougé, l'opposition à André Breton'
  18. André Souris : 'Lettre de Paul Nougé à Andre Breton'
  19. Marcel Mariën : 'Une définition possible de Paul Nougé'
  20. Paul Nougé : 'Correspondance'
  21. Salvador Dali : 'Impressions sur Nougé et Goemans'
  22. Robert Guiette : 'Camille Goemans'
  23. André Souris : 'Camille Goemans, l'homme surréaliste'
  24. Marcel Lecomte : 'Aspects de l'éthique surréaliste'
  25. André Souris : 'L'événement de la salle Mercelis et ce qui s'en suivit'
  26. Louis Scutenaire : 'L' inimitié, la brouille, l'exclusion' 
  27. Marcel Mariën : 'Aspects de l'éthique surréaliste' 
  28. René Magritte et Paul Colinet : '48 heures'
  29. Louis Scutenaire : 'De la violence'
  30. ELT Mesens : 'A la base du surréalisme…'
  31. Marcel Mariën : 'Pour un surréalisme apatride'
  32. André Souris : 'Musique, ready made, expérimentation'
  33. Marcel Lecomte : 'La revue Distance et la découverte de Scutenaire'
  34. Louis Scutenaire : 'Mes inscriptions'
  35. ELT Mesens : 'Poème'
  36. Louis Scutenaire : 'De Maranzac, le comte de la Permission, le curé Meslier'
  37. René Magritte : 'Le surréalisme et les questions' 
  38. Louis Scutenaire : 'Magritte' 
  39. Paul Delvaux : 'Travaux de peinture en 1923'
  40. Constant Malva : 'Un écrivain prolétaire'
  41. Achille Chavée : 'Commentaire sur le groupe Rupture'
  42. Achille Chavée : 'Poème non intitulé (à ma mère)'
  43. Achille Chavée : 'La Brigade internationale'
  44. Fernand Dumont : 'XXV tiré du recueil "A Ciel Ouvert"'
  45. Fernand Dumont : 'La grande Nocturne'
  46. Achille Chavée – Etant À Tout Jamais Lié De Par Mes Gestes Oubliés 1:57
  47. Achille Chavée – Angoisse 1:53
  48. Achille Chavée – Dictée 1:20
  49. Achille Chavée – Aphorisme Comme Système D'Auto-Défense 0:48
  50. Achille Chavée – Trois Aphorismes 0:26
  51. Pol Bury – De La Peinture À La Sculpture En Mouvement, Interviewer – Georges Charbonnier 11:26
  52. Christian Dotremont – En Laponie, Livre De Bord, Interviewer – Anne-Marie Lafère, 11:10
  53. André Blavier avec Odette Blavier – Ubu Rwè Mètou È Lîdgwès 0:48
  54. André Blavier – Les Fous Littéraires 1:00
  55. Théodore Koenig – Propos Sur Marcel Havrenne 1:51
  56. Marcel Piqueray – L'étrange Histoire Du Grand Chien Saintongeois 3:20
  57. Marcel Mariën – L'entrevue Du 29 Janvier 1973, Interviewer – Paul Hellyn, Pierre Crasson, Voice [In The Background] – Marcel Arnould, Renée Demeester, 7:55
  58. André Balthazar – La Fondation Du Daily-Bul 3:28
  59. André Balthazar – La Langue, Performer [Put Into Sound By] – Gabriel Séverin, 1:20
  60. André Balthazar – Manu Loûrik, Voice [Read By] – Gabriel Séverin, 2:06
  61. Marcel Broodthaers – Apprentissage Et Filation 4:58
  62. Jean-Pierre Verheggen – Monsieur Panurge 0:48
  63. Jean-Pierre Verheggen avec Jacques Bonnafé* – Toutes Les Langues (Ma Langue De Fond) Et Commentaires 9:02
  1. James Ensor : 'Discours prononcé à l'occasion de son exposition rétrospective au Palais des Beaux-Arts de Bruxelles en 1929'
  2. Pierre Bourgeois : 'Clément Pansaers, 1919, les roses rouges'
  3. Albert Lepage : 'Clément Pansaers, au Diable au corps (rue aux choux)'
  4. Pascal Pia : 'Clément Pansaers et James Joyce'
  5. Louis Aragon : 'Je pense à Clément Pansaers'
  6. Philippe Soupault : 'Clément Pansaers à Paris'
  7. Paul Neuhuys : 'Lettre de Clément Pansaers, l'opposition aux dadaïstes français et l'affaire du portefeuilles'
  8. Clément Pansaers Jr : 'Clément Pansaers, mon père'
  9. Paul Neuhuys : 'Clément Pansaers, les dernières lettres'
  10. Paul Neuhuys : 'La fondation de ça ira!'
  11. Franz Hellens : 'Tous les vents me traversent et Tastament'
  12. Robert Guiette : 'Henri Michaux et Camille Goemans'
  13. Henri Michaux : 'Ecce homo (issu de L'espace du dedans) lu par Gabriel Sèverin'
  14. Marcel Lecomte : 'Vers l'extra-littérature'
  15. André Souris : 'Correspondance'
  16. Marcel Lecomte : '1923'
  17. Marcel Mariën : 'Paul Nougé, l'opposition à André Breton'
  18. André Souris : 'Lettre de Paul Nougé à Andre Breton'
  19. Marcel Mariën : 'Une définition possible de Paul Nougé'
  20. Paul Nougé : 'Correspondance'
  21. Salvador Dali : 'Impressions sur Nougé et Goemans'
  22. Robert Guiette : 'Camille Goemans'
  23. André Souris : 'Camille Goemans, l'homme surréaliste'
  24. Marcel Lecomte : 'Aspects de l'éthique surréaliste'
  25. André Souris : 'L'événement de la salle Mercelis et ce qui s'en suivit'


Including the crazy lecture by James Ensor in 1929, many testimonies around the dadaist Clément Pansaers by his own son but also by Louis Aragon, Philippe Soupault, Pierre Bourgeois, Pascal Pia... Paul Neuhuys speaks about the foundation of ça ira (Henri Michaux' publishers among others), poetry by Franz Hellens, early memories about Henri Michaux and Camille Goemans by Robert Guiette, Gabriel Séverin reads Henri Michaux, all the fuse around the Correspondance Groupe (1924-1926) with Paul Nougé, Camille Goemans, Marcel Lecomte, André Souris, Paul Hooreman direct testimonies of the facts (a parallel movement to the French Surrealism) the opinion of Salvador Dali about them. -- Guy Marc Hinant 

IONE is Pauline Oliveros’s partner and collaborator of thirty-two years. Oliveros passed away in November 2016, but her powerful presence has left a lasting mark on experimental and electronic music globally. The following is IONE’s intuited conversation with the late Oliveros and a curated playlist expressive of her legacy.

Many of Pauline’s early compositions include a call for using extrasensory perception: expanding the linear mind in order to intuit the sounds of other players. Many instructions also call for listening internally to one’s own sounds before they surface. 

Pauline and I developed a related process over our three decades of marriage and creative partnering. Both during performances together and in explorations at home, her sounds and my words have come forth in open improvisations. 

—IONE

LISTENING FOR PAULINE

IONE: Pauline, I’m realizing that this piece relates to your early extrasensory investigations. I’m tuning in, Listening Deeply, expressing what I hear. 

You used to take notes when we did this in our living room—first in notebooks; then as technology advanced you’d bring your laptop in. I loved that. 

Pauline Oliveros: Don’t need a laptop now! They’re obsolete anyway. (laughter)

IONE: I’m considering your legacy. Improvisation, Telepresence, ESP transmissions, Sonic Meditations—so much of what you pioneered is becoming commonplace. Old friends Claire Chase, Levy Lorenzo, Ross Karre, the International Contemporary Ensemble, and Michael Century are exploring your Expanded Instrument System (EIS). Henry Lowengard is advancing the Adaptive Use Musical Instrument project (AUMI). Avatar Orchestra Metaverse is continuing in Second Life. The Center for Deep Listening® at Rensselaer Polytechnic Institute is flourishing. Deep Listening Plaza is dedicated to you in your hometown. Wow! 

PO: Wonderful! And I’m still listening! But I’ve never been that into “legacy” per se.

IONE: I know what you mean. I ran across this quote of yours recently:

 

In order for us to survive, there has to be creative action, creative expression at every level of society without exception. This feeling that one gets from realizing and expressing something of the spirit is missing. It’s not available to everyone, and it needs to be. This is what is the passion of my life and why I keep doing what I’m doing. I think it’s essential to go on.Pauline Oliveros, “Cues,” The Musical Quarterly, Autumn, 1993, Vol. 77, No. 3 (Autumn, 1993), 373–383 (quote is from 378).

 

PO: That pretty much says it!

IONE: Indeed! So your teachings and your work are really a recipe for survival, for thriving for many cultures, countries, over many lifetimes.

PO: That’s right. Don’t forget: the metaverse is listening!

SAMPLES OF PAULINE OLIVEROS’S WORK AND INFLUENCE

curated by IONE

 

the whole article and the playlist you can find here 

pictures by Laurent Orseau

  • Felix
  • Felix
  • Felix Kubin