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Emma Kunz lived from 1892 to 1963 in the German-speaking part of Switzerland. In her lifetime she was recognized as a healer; she herself described herself as a researcher. Now she has acquired an international reputation through her artistic work. Even in her schooldays, Emma Kunz occupied herself with exceptional happenings. When she was 18 years old, she began to use her abilities of telepathy, prophecy and as a healer, and she began to exercise her divining pendulum.
She achieved successes through her advice and treatments that often edged on the limits of miracles. She herself rejected the term miracle because she attributed it to the ability to use and activate powers that lie dormant in everyone. Not least, it was this gift that permitted Emma Kunz to discover in 1941 the power of the Würenlos healing rock that she named AION A. From 1938, Emma Kunz created large-scale pictures on graph paper. She described her creative work as follows: "Shape and form expressed as measurem…
language folding

Jenny Hval - ‘Paradise Rot’

The book, Jenny’s first novel to be translated into English, sits almost on the floor, half on the floor, half on the folded red and white fabric purchased in Brighton - from a charity shop the day after Pheobe set off back to university - our short trip south processing both listening, viewing as audience, performing. It rained a lot. There’s a lot of dampness in Paradise Rot. Damp that is an essential part of memories formed, recounted (how many years does it take to realise that the parts of a situation that are, at the time, frustrating, uncomfortable or fall outside of ones initial hopes, are intrinsic to the sensuality of recall). Dampness also on another recent trip, this time to Oslo with Pheobe where we dodged through the rain to see an installation and then to a building nearby, coats dripping on the stand near the door, we found a copy of Perlebryggeriet (the original 2009 Norwegian version of the book) on the shelves that had been…
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fluxus - actions of continuing distortion

if one reads from the various histories of the fluxus movement and its infleunces there is always mention of its truly international scope: Scandinavia, Netherlands, Japan, Britain, America etc. One can find reference to apparently highly active art scenes in cities around the world. Hints at the influence of elements of the Bauhaus movement, the Surrealists, the Existentialists, Dada and certain aspects of the Black Mountain College. However most books on the form tend to gravitate towards the US and some focus on the classes that Cage ran at the New York School for Social Research between 1957-1959 as being some kind of point at which several of the key concepts took shape, or at least a reflection of that process. let's put aside the fact that Cage was not alone in running classes involving chance, indeterminacy, instruction / graphic scores and actions at the time (in the US and elsewhere), and that the factor of being held in New Yor…
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Toru Takemitsu - static relief (extract) (shogakukan) Luboš Fišer - ‘homeless’ from ‘Valarie and her week of wonders’ (finders keepers) The Associates - ‘gloomy sunday’ Lydia Lunch - ‘spooky’ Gutavolk - musical balloon Jermain Tamraz - ‘Khaima Gerhcha, Khaima Bikhya’ Juana Molina - ‘?quien?’ Nara Leao - ‘coisas do mundo, minha nega’ (philips) dorothy ashby - ‘wax and wane’ section 25 - ‘opening’ (self released cassette) UT - Kcahsmahs (spare coconut) Maddalena Fagandini - ‘interval signal’ (bbc radiophonic workshop) Iva Bittova - ‘proudem mleka - river of milk’ Hamlet Gonashvili - ‘imeruli nana’ Vyacheslav Artyomov - ‘morning meditation’ Oscilation Circuit - ‘circling air’
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afternoon recording two new pieces with Pheobe riley Law

. for tape, snare drum & reeds
. for tuning fork, snare drum & reeds



a curtain you open (two part mix part two)  -  following sonic dots

(re-uploaded due to track mix-up, plays counter back to zero !)
Jenny Berger Myhre - Nar det renner over(the lumen lake / canigou records) Craig Kupka - Clouds (extract) (folkways) mkwaju ensemble - hot air (better days / denon) Cian Ethrie - volatiles w_ aspertame # 37 (lucky kitchen) Heslington Primary School - autumn(trunk records) Taku Sugimoto & Minami Saeki - V (slub) Julia Holter - bows in afternoon (extract) (engraved glass) Insides - darling effect (4ad) Delia Derbyshire - liquid energy (glo-spot) stereolab - space moment (duophonic) Skrap - dunst opening (va fongool) Toru Takemitsu - time within memory or clouds at sunset (soundtrack - extract) (shogakukan) Patty Waters - why is love such a funny thing (esp) Hamilton Yarns - open your arms (hark!) gate way (Jaqueline Thibault) - evening colours (cam) Alice Coltrane - Jai Rama Chandra (avatar book institute) Cocteau Twins - cherry coloured funk (remix) (fontana) Pheobe rile…
two part mix part one - do take a listen. I guarantee you'll hear something you like



inc. Else Marie Pade / Wauwatosa / lucretia dalt / annie anxiety / camila fuchs / nomadic female dj troupe / colleen / hilde marie holsen / syuuka / skrap / building instrument / BOA / Geinoh Yamashirogumi


it's following connections, real or imagined, researched or stumbled upon, form one piece of music to another - perhaps exploring the output of a label or a name mentioned in an interview or article. sometimes (learned from the days when cover design began to express more than ego) something in the design leads to listening. and tracing aspects in new music that trigger thoughts about music discovered years ago.


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my introduction to the films of Toshio Matsumoto came via Toru Takemitsu, who composed the music for 'Ki' (extract below). As a director he is perhaps best known outside of Japan for 'Bara No Soretsu' (Funeral Parade of Roses) but his work as a video artist is less well known now. Here's a small selection - i'm sure it's possible to get his work on DVD in Japan but elsewhere it's only his movies that are anywhere near widely available, hence the youtube links:






it's been a while since I attempted to write anything about music / sound to share publicly - I work in areas of the arts where to write about the work is often given more easy status than the work itself - an odd pattern of conservatism, reduction and strangely 'establishment' rather than explorative - in construction if not content.

one thought is a constant with me on this subject: for all of the interesting and not so interesting books on sound and music - and there are lots of both - none of them ever come close to summing up in words what makes music what it is, what differentiates it from the written or spoken word.

so, why try ?

more properly - I won't try, erase, failure

celebrate instead the private and shared joy of listening



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it's important to re-set from time to time. to keep hold of experience and insight but to keep fresh, keep that elemental sense of exploration & simple enjoyment. A while ago now I came across the photographic work of Jenny Berger Myhre. I saved the link to her website on my ever-expanding list of 'to be looked at further' links. Then somehow I was reminded of her name through listening to Jenny Hval's most recent full LP 'Blood Bitch'. So, I took a look & found that i'd missed that Jenny BM had recently released an album, on cassette & download; 'Lint'. purchased, I downloaded the digital files & listened in. A few days later the physical version arrived &, if it were needed, I was as always reminded of how the presence of something tangible, touchable can effect ones connection to the music it contains. The digital files are on my mobile player - fine, but the cassette version is a standalone piece of artwork & sonically the …
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(nb. important to note that some of these video clips are from youtube and I encourage any reader of this post, and indeed this blog, to seek out all official links to purchase any works featured or for visiting websites of those involved)


writing currently about the voices (sing) that have been significant for me over the years - more than liked, something ecstatic, accompaniments to the sense of life - the highs the lows the in between. grow. will share more of these mini-essays (ramble) soon

Jenny Hval has been one for a few years now - much more to say why and I struggle to find the language

but, was listening again to rockettothesky's 1st album 'to sing you apple trees' this week,  and the song 'Barrie for Billy MacKenzie' - connection between two of said voices - led to BOA ensemble (with Jenny), Skrag (via Jenny) round back to Billy, obscured (memories of seeing The Associates live, first on at my first proper concert on the SaTB Join Hands tour, a one-off w…
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part 4 of my response to the BBC's minimalism series, or as it's coverage in said series has been niftily described in Jennifer Allen's article for The Quietus 'menimilism'.  In this post I am venturing beyond the most obvious linked work, partly including some pieces that I remembered whilst searching for suitable clips by other artists and some that again, in my opinion, show how much more interesting and expansive some composers and artists not featured in the BBC series were. I've also included some examples of the developments in jazz and art-music that were part of the sound-world the minimalist composers existed in.






(there is no doubt that jazz had a significant influence on the early 'minimalist' composers and of course at that time it was another form where male musicians got top billing, however it is my opinion that with a close listen to Mary Lou Williams, especially this relatively famous piece from 1945, one can hear a particular use of fo…
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R.H. Quaytman





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following on from the two recent posts connected to the BBC minimalism series (which have proved popular and from various comments clearly are part of a wide spread frustration at the various issues with the series), here are some of the traditional musics that were, I would argue, a significant influence on the development of that particular form of music. Of course some of these examples were filmed / recorded after minimalism was established but the traditions stretch back for hundreds of years, if not thousands. It's important to remember that throughout the 50's, 60's & 70's Universities in the US and other institutions often hosted musicians from other parts of the world and traditional forms were part of the student / artist subculture. In additional public libraries often carried extensive collections of the available commercial recordings as well as the archives of noted field recordists and researchers. One particular aspect of some traditions that has oc…
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ahead of episode 2 of 'tones, drones and arpeggios' series on minimalism, which, again fails to cover key female composers & artists, I thought i'd follow up my earlier post with some more women either omitted, that have been influenced by some of the themes of the form or who perhaps illustrate that whilst the boys were busy being famous others were expanding music in often more interesting ways (sorry boys !)

















(nb. this isn't an ideal recording of this piece as there is a lot of distracting noise in the room, however it is hard to find much of Bunita's music online. For those who know her name in another connection that is, in itself, an interesting example of composers influencing each other yet one being lauded and the other largely ignored - and worse according to Bunita)