Wednesday, 7 March 2018

Episode 30: Mood Music

This episode is on trends for a more subdued sound in pop music and an emphasis upon texture over narrative in recent sonic culture more broadly.

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John Hassell, Dream Theory
Francisco, Cosmic Beam Experience pt 2
Chi, Twisted Camel
Umfang, Symbolic Use of Light
Karen Gwyer, Why is There A Long Line In Front Of The Factory
Michael Banabila/Michael Turtle, Our Man In Phantoms Dreamland
Yaeji, Feelings Change
Yves Tumor, The Feeling When You Walk Away
Anno Luz, Por Que
Midori Takada, Crossing
Hiroshi Yoshimura, Dance PM

-David Toop, Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds, Serpent's Tail, 2001
-Simon Reynolds, Energy Flash: A Journey Through Rave Music and Dance Culture, Faber & Faber, 1998. 
-Mark Pendergrast, The Ambient Century: From Mahler to Moby, Bloomsbury, 2000.
-Sounds of the Dawn
-Douglas MacGowan

Thursday, 1 March 2018

Episode 29: Ford Workers Strike with Eoin O'Cearnaigh

This month's episode, I am joined by labour historian Eoin O'Cearnaigh to discuss music as it amplified and reflected auto workers struggles in the US, UK, and Europe throughout the twentieth century. Our discussion is occasioned by Eoin's procurement of a rare record produced to support striking Ford workers in Britain.

Eoin O'Cearnaigh is currently completing a PhD in the History Department at Goldsmiths University of London. His research examines the politics of work through an historical study of industrial unrest at the Ford Motor Company Limited in Britain. He also recently completed a residency at MayDay Rooms in London, where he prepared an exhibition now on display of materials from across the archive's collections.

Johnny Strika,
Dick Gaughan, Handful of Earth
Heaven 17, Crushed by the Wheels of Industry
Patty Smith, Piss Factory
Einsturzende Neubaten, Armenia
Henry Cow, Industry
Joe Lee Carter, Please Mr. Foreman
Junior Murvin, Police and Thieves
XTC, Day In Day Out
Yximalloo, We Work 98 Hours For a Week #4
Test Dept., Beating the Retreat
Giorgio Moroder, Machines

Tuesday, 9 January 2018

Episode 28: Vito Ricci and Seance Centre's Brandon Hocura

On this episode the legendary NYC composer Vito Ricci and Brandon Hocura, co-founder of the Invisible Cities reissue label and founder of Seance Centre, the label that recently issued My Little Life, a collection of short stories accompanied by musical compositions written and performed by Vito.

While Brandon contextualises Vito's work within the broader context of Seance Centre's project of reissuing both music and literature, especially poetry, Vito discusses his recent career renaissance through the reissue of his material, how working for theater, dance, and poetry shaped his work, and his time with free jazz legends Rashied Ali, Ornette Coleman, and others.

Vito Ricci, in Vietnam circa 1960s

 Vito Ricci & Lise Vachon at the launch of My Little Life, NYC 2017

 Vito Ricci & Lise Vachon at the launch of My Little Life, NYC 2017

Vito Ricci, The Ship Was Sailing
Beverly-Glenn Copeland, Slow Dance
Vito Ricci, Bump Em
Vito Ricci, Kham Duc
Vito Ricci, I'm At That Party Right Now
Vito Ricci, Yours
Vito Ricci, Dong
Vito Ricci, Dub It
Vito Ricci, I Am Silent
Eblen Macari, Planetarios Suite

Tuesday, 26 December 2017

Episode 27: Popular Motives

'I believe, in fact, that attempts to bring political protest together with ‘popular music’ – that is, with entertainment music – are for the following reason doomed from the start. The entire sphere of popular music, even there where it dresses itself up in modernist guise is to such a degree inseparable from the commodity, from the cross-eyed transfixion with amusement, that attempt to outfit it with a new function remain superficial. And I have to say that when somebody sets himself up, and for whatever reason accompanies maudlin music by singing something or other about Vietnam being unbearable….I find, in fact, this song unbearable, in that by taking the horrendous and making it somehow consumable, it ends up wringing something like consumption-qualities out of it." 
(from a television interview with Theodor Adorno)

Ryuichi Sakatomo, Merry Christmas, Mr Lawrence
Famous Dex, Like Wow
N.E.E.T. (Not in Education Employment or Training), Pythagoras Hammer
Linda Di Franco, My Boss
Caterina Barbieri, Scratches on the Readable Surface
Interview with Theodor Adorno
Argile, Tagtraum Eines Elefanten
Steve Roach, Quiet Friend
Tupac, Best Interview 1992!!
Keith Fullerton Whitman, Feedback Zwei
Justin Bieber Meets a Super Fan
Lonnie Liston Smith, Astral Travelling
Klein & MBO, Wonderful
Neil Young on being political 
Future & Jodeci, Whatever U Need (A JAYBeatz blend)
New Edition, Can you Stand the Rain
Kk null, z'ev & Chris Watson, Invocation - Kami, (The Celestial) Jupiter Sight Wood East Spring Dawn
Leon Thomas, The Creator Has a Master Plan
Unknown, Old School Rave the Morning After
Steve Miller Band, Fly Like an Eagle

Monday, 27 November 2017

Episode 26: Experimental Music in China with Edward Sanderson

On the occasion of the Zoomin Nights and End of the Alphabet Records co-release of the compilation There is No Music From China (compiled by Yan Jun & Zhu Wenbo), I discuss the Chinese experimental music and sound art scene with curator and researcher Edward Sanderson.

Edward Sanderson is a researcher and writer about contemporary art in China. He lives and works mainly in China and most recently, curated 'Grounds for Sound' at Inside - Out Art Museum in Beijing. He blogs about Chinese visual and sound art here.  

-Flower [Wang Zhipeng] - Flower Crash (from ‘ONE HUNDRED AND TWENTY SEVEN’ by Various Artists, on playreclabel 2017)
-Jun-y Ciao - Vibration No​.​1129 (from ‘there is no music from china’ by Various Artists, on Zoomin' Night/ End of the Alphabet Records 2017) 
-Isan - Music for Gallery (from ‘Music For Museum’ by Various Artists, on Sub Jam 2008)-Fiona Lee - Delight (from ‘walking in a daze’ by Fiona Lee, self-published 2016)
-Yao Qingmei - Internationale (from ‘there is no music from china’ by Various Artists, on Zoomin Nights/End of the Alphabet 2017)…/there-is-no-music-from-c…

-Dancing Stone (Nelson Hui (flute) + Ling Lee (voice)) - Two (from ‘An Anthology of Chinese Experimental Music 1992–2008’ by Various Artists, on Sub Rosa 2009)…/an-anthology-of-chinese-experimen…
-718 [Sun Lei] - Music for Bathroom (from ‘Music For Museums’ by Various Artists, on Sub Jam 2008)
-Hsia Yu & Yan Jun - We Came This Way to Know the Evening (from ‘7 Poems And Some Tinnitus’ by Hsia Yu and Yan Jun, on Sub Jam 2016)…/7-poems-and-some-tinnitus
-Yan Jun - Wormhole Trip (from ‘Wormhole Trip OST’ by Yan Jun, on The Shop + Sub Jam/Kwanyin Records 2009)
-Wang Fan - 噪声时代 (from ‘内心的噪音 Noises Inside’ by Various Artists, on Sub Jam 2001)
-Sheng Jie - 一只鸟死了 (from ‘Nine​-​dimensional space’ by playreclabel 2017)…/nine-dimensional-space


Image: Li Weisi (left), at Miji Concert 15: Family Impro Committee, At Yan Junʼs apartment, Beijing, 28 August 2013

no performance (Zhu Wenbo, Sean Lee), At fRUITYSPACE, Beijing, 23 February 2017

VAVABOND And Li Jianhong, Zoomin Night, at Sanyuanqiao Underpass, Beijing, 26 October 2015

TORTURING NURSE, Sally Can't Dance Festival, at School Bar, Beijing, 7 November 2015

Sun Wei, Miji Concert 32, at Meridian Space, Beijing, 9 January 2016

Jason Kahn and Yan Jun, Zoomin Night, at Sanyuanqiao Underpass, Beijing, 22 March 2016

Zhao Cong, Miji Concert 36 at Meridian Space, Beijing, 29 June 2016

Gao Jiafeng, ⼀一个即兴的周三, at fRUITYSPACE, Beijing, 6 July 2016

(left to right) Yan Yulong, Sheng Jie, Ding Chenchen, Miji Concert 39, at Meridian Space, Beijing,  1 September 2016

Ake, Zhao Cong, Miji Concert 40, at Meridian Space, Beijing, 21 October 2016

All photos courtesy of Edward Sanderson

Tuesday, 24 October 2017

Episode 25: Beyond Unwanted Sound with Marie Thompson

On this month's episode I discuss the recent book Beyond Unwanted Sound: Noise, Affect and Aesthetic Moralism with its author, Marie Thompson. We discuss different conceptions of 'noise', as anti-music or the cacophony of industrial society, competing theories of noise and Marie's powerful argument that noise is neither inherently bothersome nor transgressive. We end by discussing some of the musicians and sound artists that Marie argues transcend the dominant morality by which noise is related to.

Marie Thompson is a Lecturer in Lincoln School of Film and Media. Her research centres on the affective, material and gendered dimensions of sound, noise and music. She is the author of Beyond Unwanted Sound: Noise, Affect and Aesthetic Moralism (Bloomsbury, 2017) and the co-editor of Sound, Music, Affect: Theorizing Sonic Experience (Bloomsbury, 2013). She has also published a number of chapters and articles on the intersections of noise and femininity.

Bredbeddle – Keep the Salt
Pauline Oliveros and Reynols – Cathedral Juice 
Teddy and the Frat Girls– I owe it to the girls
Vile evil veil – left luck #1
Angel Ho – removals
Henry Cowell – Aeolian Harp and Sinister Resonance
Klein - Cry Theme
Helen Papaioannou – In the Loop (performed by  Helen Papaioannou and Hannabiell Sanders)  
Mmeellttiinngg – flower
John T. Gast - Sedna
Lamers - Inthro (Breathing exercise)
Torturing Nurse - ncsda
Pole – Modul 
Sachiko M – don’t ask
Diamanda Galas – Looks could Kill
Inga Copeland and Dean Blunt - 2 

R. Murray Schafer, The Soundscape: Our Sonic Environment and the Tuning of the World, Destiny Books, 1994.
Claude Shannon, "The Mathematical Theory of Communication", The Mathematical Theory of Communication, University of Illinois Press, 1949.
Michel Serres, The Parasite (translated by Lawrence R. Schehr), University of Minnesota Press, 2007.
Steven Shaviro, "Accelerationist Aesthetics: Necessary Inefficiency in Times of Real Subsumption", E-Flux, No.13, June 2013.
Tiqqun, "The Cybernetic Hypothesis"

Episode 24: Blood of an American - Soul Music and the Vietnam War

This month's episode marks the forthcoming Melodies International reissue of the beautiful anti-war folk-soul ballad 'Blood of an American' by Bobby Wright (now Abu Talib). Little known and rarely heard, the record stages a reflection upon the unique intersection of popular music and radical politics in late 1960s and early 1970s soul music.  This becomes an opportunity to think critically about the ways in which counter-cultural soundtracks have been sanitised and re-packaged in recent decades.

-Peter Guralnick, Sweet Soul Music: Rhythm and Blues and the Southern Dream of Freedom, Canongate Books, 2002.
-Craig Hansen Werner, A Change is Gonna Come: Music, Race & the Soul of America, University of Michigan Press, 2006.
-Doug Bradley & Craig Werner, We Gotta Get Out of This Place: The Soundtrack of the Vietnam War, 2015.
-Brian Ward, Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations, University of California Press, 1998.
-Leroi Jones (Amiri Baraka), Blues People: Negro Music in White America, Greenwood Press, 1980.
-Leroi Jones (Amiri Baraka), Black Music, Akashic Books, 2010.

Bobby Wright, 'Blood of an American'
Marion Brown, 'Porto Novo'
Archie Shepp, 'Poem for Malcolm'
Cecil Taylor, 'Enter Evening (Soft line structure)'
Eddie Kendricks, 'My People... Hold On'
Syl Johnson, 'Is It Because I'm Black'
The Last Poets, 'Ho Chi Minh'
The Sweet Inspirations, 'Am I Ever Gonna See My Baby Again'
Archie Bell & the Drells, 'A Soldier's Plea'
Johnny & Jon, 'Christmas in Vietnam'
Penny Goodwin, 'Too Soon You're Old'
Lou Bond, 'To The Establishment'

Thursday, 5 October 2017

Amplification//Annihilation (recorded live at Cafe Oto August 20th, 2017)

Amplification//Annihilation is a live audio-visual radio broadcast featuring the work of Leah Barclay (AUS), Robin Buckley (UK), Kate Carr (UK), Minerva Cuevas (MEX), Graciela Muñoz Farida (CHL), Anja Kanngieser and Polly Stanton (UK/AUS), Andrea Polli (MEX), Leanne Betasamosake Simpson (CAN), Ziibiwan (CAN).  It was recorded live at Cafe Oto by co-curators Anja Kanngieser, Rory Gibb and Paul Rekret. 

Artists and activists are using sound to comment on, and intervene in, the climate debate. However, while the aesthetics of ecological crisis are pervasive, replete with a dwindling dawn chorus and celebrations of a nonhuman nature, the broader contexts and stakes of these images or sounds are rarely considered. Against the drip drip drip of glacial melt, this evening showcased sound works that seek to confront environmental change.

Programme Notes: 

"There are those who want to talk about climate change, yet don’t want to talk about how those who are affected the most can’t prioritise it in the first place, because prioritising it would mean being forced to pull the layers back and also talk about the poverty, the racism, the injustice, the privilege, the hush money, the hit lists that climate change is operating from, the rounds it makes on earth starting with the most vulnerable. Everyone is affected by climate change, yet some are affected first, but no one cares until it’s affecting them."
Terisa Siagatonu — 'Layers

These are lines from the spoken word poetry of Samoan-American artist Terisa Siagatonu. Her words and voice articulate the violences of climate change, and they do not hold back. With this event I wanted to amplify the voices and sounds that counterpose the aesthetic narratives of environmental change, that peel back the layers underneath the dripping glaciers/bird calls/exotic geographies; works that ask questions, that might even demand answers. It’s not easy to do radical politics in the sound world; it’s not always easy to put sound to work as a political force. The works included here are not strictly just sound, nor do they all approach politics in the same ways. But they are part of a commitment to facing climate change and asking for those listening to be present, to be more than present – to intervene. (A.K)

Popular music’s conceit to authenticity is both crude and altogether well known. Essentially, souls bared, performers heroically elude corruption by the processes that deliver them to their audience. This belies a bigger story, wherein whatever is deemed ‘natural’ becomes privileged as a site where an older, innocent pre-modern culture is preserved. This is as evident where music is imbued with a primal energy as where the ‘countryside’ is assigned purifying or regenerating qualities. Indeed, these two attributes, the pastoral and the primal, intersect throughout the history of pop: folk and blues revivals, psychedelia, country, new age, to name but the most overstated. 

Sonic representation of ecological crisis is not reducible to changing ideas of the natural, though crisis is nonetheless discernible in growing suspicion of ideals of authenticity. At the same time, the contemporary prominence of field recording as musical accessory or as a genre in itself, implies further permutations. Equally, existential experience of ecological and economic collapse is discernible in British Industrial or Detroit techno’s confrontation with deindustrialisation and thus globalisation, New Orleans MCs; tales of negotiating FEMA flood relief, metal’s black forests, or all those musical expressions of loss and forfeiture usefully called ‘hauntological’. At the very least, these betray a changing experience of what is natural and the
assorted ways that experience is lived. (P.R.)


Climate and conservation scientists share an underlying drive, in that their work seeks not only to document and understand, but also to create the knowledge and conditions for effective intervention. Here, sound and listening can be tools to monitor ecological change, yet the complexity of both wildlife communities and soundscapes so often eludes quantitative interpretation, and we're returned to the purely affective dimension: comparing eerily silent forests to the glorious fuck-you exuberance of the resurgent dawn chorus at Chernobyl, now long devoid of humans. Similarly, field recordings open intimate windows into unfamiliar lives and temporalities — the ultrasonic chirps of whales and bats, the sigh of glacial ice — yet so often aesthetically reify the notion of a vast gap between ourselves and an unknowable nature. The unequally distributed violences of global climate change and ecological devastation instead require us to rethink what constitutes the natural and the external, to understand our collective interdependence, and to hear the past and present structural processes that link the silenced voices of empty forests and oceans with those of vanishing islands, oppressed communities, 'redeveloped' urban spaces and empty towerblocks. Meaningful sonic interventions are those that stay with and confront these dynamics head on: that resist the extinction of communities, knowledges and ways of life with anger, solidarity and noise. (R.G)

Featured Works

Disobedient Films and Jamie Perera — Trump Paris pullout Speech (2017)
Joanna Brouk — Playing in the Water (1981)
Steve Halpern — Dawn (1987)
Jonathan Prior — Tenby Skylarks (2017)
Alice Damon — Waterfall Winds (1990/2013)
Edgar Froese — Marouba Bay (1975)
Stratis — By Water (1984/2017)
Iasos — Libra Sunrise (1975)
Emily Dolittle — Social Sounds Whales From Whales at Night for Oboe D’Amore and Tape (2017)
Rob Thorne — Kauhanga (2014)
Ursula K. Le Guin - Kinship (2014)
Venus Ex Machina — Paraquat (2017)
*AR — Now This Terrestrial Sea (2015)
Jana Winderen — Aquaculture (2010)
Heike Vester — Seine Feeding Killer Whales (2009)
Andrea Polli — I Don’t Have The Data (2009)
Andrea Polli — Heat and the Heartbeat of the City(2007)
Toshiya Tsunoda — Low Frequency Observed At Maguchi Bay (2007)
Michael Corey and Jim Briggs — The Oklahoma Shakes (2015)
Leanne Betasamosake Simpson — Caribou Ghosts and Untold Stories (2016)
Elysia Crampton — American Drift (featuring Money Allah) (2015)
Peter Cusack — Dawn Chorus Chernobyl Town (2012)
Ultra Red — A Pico Aliso (Hemos Bastante)
Graciela Munoz Farida — El Sonido Recobrado (film, 2014)
Kate Carr — Brisbane River (2011)
Leah Barclay — Intrinsic Connections (2017)
Anja Kanngieser and Polly Stanton — And then the sea came back (radio, 2016)
Teresia Teaiwa — Bad Coconuts (feat. H. Doug
Matsuoka and Richard Hamasaki) (2010)
Terisa Siagatonu — Layers (2015)
Ziibiwan — Loon Song (2016)
Minerva Cuervas — A Draught of the Blue (film, 2013)
E+E — Fire Gut (2013)
Fis — CMB Inna (2015)
Chris Watson — Vatnajokull (2003)
Jar Moff — Financial Glam (2014)
Rob Thorne — Revelation Reprise (2017)
Drexciya — Digital Tsunami (2002)
Babyfather — PROLIFIC DEAMONS (2016)
Ariel Karma — Rainy Day (2014)
Egyptrixx — Lake of Contemplation, Pool of
Fundamental Bond (2017)
Natalie Hyacinth — Waves (2017)
Bone Thugs N’ Harmony (feat. Mariah Carey) — Breakdown (1997)
Dave Noyze — Acorn (2008)
Patrick Cowley — Jungle Dream (2015)
Jungle Wonz — Bird in a Gilded Cage (1993)
Anthony Child —Waiting and Watching (2015)
Ake — Answer a Call of Nature (2017)
Black Merlin — Wave (2016)

Thursday, 24 August 2017

Episode 23: Calmly Smoke

Ketan Shankardass examines representations of stress and drug use in American hip-hop.

There are more of Ketan's on his Soundcloud

Organized Konfusion – Stress (Remix)
Ronnie Laws – Tidal Wave
Fat Joe – Success (DJ Premier Remix Instrumental)
Toddy Tee – The Batteram
Ice Cube – Bird in the Hand
One Gud Cide – Bad Dreams
Kendrick Lamar – Cartoons and Cereal f. Gunplay
Maze – Lady of Magic
DJ Quik – The Maze
Mobb Deep – Drink Away The Pain (Situations)
Goodie Mob – Thought Process
Alchemist – Calmly Smoke (f. Styles P)
Ab-Soul – The Book of Soul
Bobby McFerrin – Moondance
Megalon – When I Go Out
Meek Mill f. Young Thug – We Ball
Fetty Wap – Wake Up
Soft Machine – Drop
Schoolboy Q – Black Thoughts

Monday, 14 August 2017

Episode 22: A Personal Hip Hop Odyssey with Warren Ali

On this month's show Warren Ali offers an autobiographical story of growing up under apartheid and later, post-apartheid South Africa and then moving to London, all through the lens of rap music and what it meant to him.

Tuesday, 27 June 2017

Episode 21: Sun Ra's Synths

A conversation with the writer and critic Francis Gooding about Sun Ra's groundbreaking use of synthesizers, the topic of his forthcoming book.

Sun Ra & , Of Other Tomorrows Never Known
Sun Ra, The Perfect Man
John Coltrane, Interstellar Space
Sun Ra, Aurora Borealis
Sun Ra, The Wind Speaks
Sun Ra, Sun Thoughts
Sun Ra, Outside the Time Zone
Sun Ra, Solar Ship Voyage
Thelonious Monk, I Don't Stand a Ghost of a Chance with You
Herbie Hancock, Chameleon
Fred Wesley & the JBs, Blow Your Head
Miles Davis, Thinkin One Thing Doing Another

Francis Gooding is a writer. You can read him in the Wire, the London Review of Books, and in liner notes for releases by labels including Jazzman, Strut, Matsuli and others. He is currently working on a book about Sun Ra's use of electronics, and on a history of South African jazz musicians in exile. 

Tuesday, 30 May 2017

Episode 20: An Organic Adornment

Geographer of sound Anja Kanngieser joins Paul Rekret for a discussion of the growing use of field recording in pop and dance music in recent years.

Peter Mannferfelt, Mambuti Pygmy flutes
Kink Gong, Kavet Lalai 1
Robert Belmont (aka ‘The Human Bird’)
Some birds
Black Merlin, Wave
Anthony Child, Waiting and Watching
18+, Crow
Some crows
Balam Acab, Fragile Hope
Edgar Froese, Maroubra Bay
Ariel Karma, Rainy Day
Joel Graham, Geomancy
Ernest Hood, August Haze
Patrick Cowley, The Jungle Dream
Simon Fisher Turner, Into Bush
Ariel Karma, Merry Forest
Aine O’Dwyer, An Unkindness of Ravens
Joanna Brouk, Playing in the Water
Steve Halpern, Dawn

Monday, 24 April 2017

Episode 19: Noise and Capitalism

A discussion and music revolving around the book Noise and Capitalism with its co-editor Anthony Iles.  Anthony discusses the book's emergence out of a London noise scene, the potentials that the music opened and also its limitations, and the very notion of noise as a genre itself.

Anthony Iles is currently a doctoral candidate at the School of Art & Design, Middlesex University and a contributing editor with Mute / Metamute and Cesura//Acceso magazines. He is the author, with Josephine Berry Slater, of the book, No Room to Move: Art and the Regenerate City (Mute Books, 2011), editor of the recent publication, Anguish Language: Writing and Crisis (Archive Books, 2015), and contributor to Brave New Work: A Reader on Harun Farocki's Film A New Product. Recent essays have been published in Radical Philosophy, Rab-Rab: Journal for Political and Formal Inquiries in Art and Logos.

DJ Scud, "Next One Dead (Outronoise by Nomex)"
Throbbing Gristle, "Very Friendly"
Sarcomasine Bloc, "Internecine Slakes"
DJ Scud, "Each One Teach One"
The Bug, "WWW (feat. Mexican)"
Luc Ferrrari, "Musique Socialiste ou Programme Commun Pour Clavecin Amplifie et Bande Mechanique"
Evan Parker, Keith Rowe, Barry Guy, Eddie Prévost, "Supercession"
To Live and Shave in LA, "Ideas Make Men Hard"
Runzelstirn & Gurgelstock, "Fur Scheide Schnecke und Rassiermesser"
Movement Soul: Live Recordings of Songs and Sayings from the Freedom Movement in the Deep South"

Monday, 27 March 2017

Episode 18: Alpha, Isis, Eden by Laura Oldfield Ford and Jack Latham

This month, Alpha, Isis, Eden, a sound work produced by Laura Oldfield Ford and Jack Latham as part of an installation with the same title at Showroom gallery, London, February - March, 2017.

From the Showroom's notes:
"...a new sound work, made in collaboration with sound engineer and producer Jack Latham, using field recordings taken by Oldfield Ford during experimental, critically-engaged walks or 'derives' in the area. Mapping the psychic contours of the urban environment through her subjective experience, Oldfield Ford also draws on her personal history of working in the area in the public care and social welfare sectors, as well as on time she spent in subcultural scenes as a squatter and political activist."

Laura Oldfield Ford, Savage Messiah, London: Verso, 2011.
Mark Fisher, "Introduction", Savage Messiah, London: Verso, 2011.
Laura Oldfield Ford, "Jam City, Dream of a Garden - A Deriv - London - May 1st 2015"
Laura Oldfield Ford, "Spectral Developments - Haunted Schemes", Art Review, April 2015.
Jack Latham w/ Dan Barrow, "Invisible Jukebox: Jam City", The Wire, September 2015.

Jam City, "The Garden Thrives"
Rich Gang, "Givenchy" (instrumental)
Laura Oldfield Ford & Jack Latham, "Alpha, Isis, Eden"

Wednesday, 1 March 2017

Episode 17: Black Atlantis

This month a recording of a live performance of Black Atlantis, The End of Eating Everything, an audio-visual essay produced by Ayesha Hameed in collaboration with Tom Hirst.

Recorded live at the Empire Remains shop in London in November 2016, Black Atlantis looks at possible afterlives of the Black Atlantic: in illegal migration at sea, in oceanic environments, through Afrofuturistic dancefloors and soundsystems, and in outer space – taking as its point of departure the group Drexciya’s sonic fictional world, it brings together ideas around afrofuturism and ecological crises and the related concept of the anthropocene. 

Black Atlantis combines two conversations - afrofuturism and the anthropocene. It takes as point of departure Drexciya, the late 20th century electronic music duo from Detroit, and their creation of a sonic, fictional world. Through liner notes and track titles, Drexciya take the Black Atlantic below the water with their imaginary of an Atlantis comprised of former slaves who have adapted to living underwater. This wetness brings to the table a sense of the haptic, the sensory, the bodily, and the epidermal. What below-the-water, and Atlantis brings back is the bottom of the sea, the volume of the water, the materiality of the space of the ocean, and other protagonists that inhabit the sea. 

This third instalment ‘The End of Eating Everything’// Black Atlantis III follows Bodies and Storms// Black Atlantis I; and Agitations and Adaptations// Black Atlantis II. It takes its title from a work by Wangechi Mutu which shows a monstrous form of consumption underwater. ‘The End of Eating Everything’ considers what Drexciyans might consume underwater, what things are consuming each other around them and what boundaries might be eroded between the what’s and the who’s of what is being eaten. 

With contributions from: Rachel Baker, Sam Dolbear, Lizzie Homersham, Marie Louise Krogh, Bijan Moosavi, Christian Nyampeta, Theodor Ringborg, Nikhil Vettukattil, Marina Vishmidt.


Part 1 Stars and Clocks
Drexciya The Quest (Submerge, 1997).

Sean M. Kelley. The Voyage of the Slave Ship Hare: A Journey into Captivity from Sierra Leone to South Carolina University North Carolina Press: 2016. Pp.53, 55

Wikipedia Entry “Marine Chronometer”

Emily Lindsay Brown “The longitude problem: how we figured out where we are” July 18, 2013

Mark Richardson “Grava 4 review”

“Astronomical Guidepost” Drexciya Grava 4 (Clone ,2002)

“Raw Video: US Ship Under Pirate Attack”

“Skeleton Clock with Chronometer Escapement – Herschel”

“13965 - Bliss chronometer”

Draining of the Tanks Drexciya Neptune’s Lair CD (Tresor, 1999)

Astronomical Guideposts: Drexciya Grava 4 (Clone Records, 2002)

Part 2 Cities under the sea
Mark Richardson “Grava 4 review”

Andrew Duke “Drexciya” in Cognition Audioworks

Drexciya Neptune’s Lair (Tresor, 1999)

Blue Planet “Episode 2: The Deep” David Attenbrough. BBC Natural History Unit/ Discovery Channel 2001.

“Solar Wind” Shifted Phases The Cosmic Memoirs Of The Late Great Rupert J. Rosinthrope (Tresor, 2002)

“Bubble Metropolis” Drexciya Drexciya 2 - Bubble Metropolis (Underground Resistance, 1993)

“Intro: Temple Of Dos De Aqua” Drexciya Neptune's Lair (Tresor,1999)

Crone, et al (2006). "The Sound Generated by Mid-Ocean Ridge Black Smoker Hydrothermal Vents". PLoS One 1 (1): e133. DOI:10.1371/journal.pone.0000133.

Part 3 Monsters
H.P. Lovecraft. 'The Call of Cthulhu' in The Best of H.P. Lovecraft: Bloodcurdling Tales of Horror and the Macabre. New York: Ballantine Books, 1982, p.76.

Anaïs Duplan “A Body that is Ultra-Body: In Conversation with Fred Moten and Elysia Crampton”

Charles Kingsley Water Babies: A Fairy Tale for a Land Baby. London: Macmillian & co.,1886.

Omar Berrada “Defend the Dead: Omar Berrada on M. NourbeSe Philip's Zong!” Chumurenga/ Pan African Space Station (Radio Broadcast) 2015

Space is the Place d. John Coney 1974.

“Species of the Pod” Drexciya Neptune's Lair (Tresor,1999)

“Amazing monstrous whirlpool / Чудовищный водоворот / Dvietes atvars / Torbellino / Tourbillon”

“killer whale sounds - bruit orque - schwertwal geräusch - odgłos orki”

“The Bloop: A Mysterious Sound from the Deep Ocean | NOAA SOSUS”

“Underwater Whale Sounds - Full 60 Minute Ambient Soundscape”

“Walt Disney: Water Babies Silly Symphonies”

“Wangechi Mutu + Santigold - The End of Eating Everything - Nasher Museum at Duke”

Part 4 Coasts
Drexciya Grava IV (Clone Records 2002).

Stephen Helmreich, Alien Ocean: Anthropological Voyages in Microbial Seas. Berkeley and Los Angeles: University of California Press, 2009, p.64.

“Mediterranean smuggler arrested for 'throwing dead body to sharks'“

“Seventeen migrants die of asphyxiation in Mediterranean smuggling boat”

“Italy is killing refugees with kindness” Nicholas Farrell The Spectator, 6 September 2014

'New era of climate change reality' as emissions hit symbolic threshold” Press Association The Guardian Monday 24 October

“Winter Wind 1 Hour / Relaxing Snowstorm Sound, Winds Blowing Snow Across Forest Meadow”

“Wind Sounds - Full 60 Minute Soundscape”

Lamin Fofana “Another World” 2015

Jean Michel Jarre Oxygene (Polydor 1976)

“Cascading Celestial Giants” Drexciya Grava 4 (Clone Records, 2002)

“L'Atlantide - Georg Wilhelm Pabst (espejismo)" 

Drexciya d. Simon Rittmeier 2012