Zeid from Radio23 , operating out of a computer-equipped utility van, he describes his work as such:
This has been going on for over a year and episodes have ranged in
format and demeanor from your standard.. perhaps not tame, but
relatively stable and coherent song by song DJ playlisting, to a
rather mind-numbing example of complete and utter structural breakdown within your mash-up/mixing technique; from simply odd homemade jingles
and occasional sci-fi radio dramas, to live, in-van noise performance
an occasional scant cast of quite equally maniacal comrades.
Content varies through most of the spectrum, but recurring motifs
are emphasis on transition and contrast, near constant reminders of
the increasingly atrophied state of nature of in particular the human
mind and societal edifice, and a striving toward time constriction,
dilation, and dispersal.
I
The first of two mixes, this 59 and a half minute soundscape draws on sources such as as Clara Rockmore's "Art of the Theremin", William S. Burroughs' "Cities of the Red Night", The Chronopolis soundtrack, Ennio Morricone, Howard Hughes, and more.. auxilliary sources include the vocals of Meatporkmammy of "The Cocksuckers", a live taser, a multitude of delays, live electronics, and many hours of general mixing and channel processing.
II
Part two is perhaps a bit more "noisy" in nature than the first mix. The intro reprises the former's tazer collage, reassembled and this time mashed up with Spider Compass Good Crime Band. A long, somewhat grueling collage figures in heavily, based around loops of the "Epistrophy" by Thelonious Monk with John Coltrane, with tasty layers of Sunn O))) and an L. Ron Hubbard diatribe, which is customary. There is an increase of live electronics, and a decrease of tape noises. The episode is capped off with a live version of The Residents "Walter Westinghouse." Other sources include Rubber O Cement, Hans Grusel on a Serge Modular, further Meatmammy, and an odd children's cartoon from somewhere in Europe.
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