Ideas about the concept of time, music for a skier’s descent from an impressive mountain top, and sounds from a love and peace duo. 49 minutes with “Blue” Gene Tyranny, Phew, Pikacyu★Makoto, Suzanne Ciani, and others – realized between 1962 and 2021.
Despite their gentle and surreal nature, these tracks weren’t necessarily made with the idea of sleep in mind; their dark ambient textures, however, are inspired by memories, sounds, or discoveries. 51-minute mix with works by Brian Eno, David Toop, Monolake, Thomas Köner, and others – realized between 1982 and 2020.
With his label Obscure, pop star Brian Eno starts a series with experimental listening music in 1975. The artists involved want to leave their previous approaches towards making music behind and work with new technologies or take inspiration from ancient traditions. 71 minutes with Gavin Bryars, Harold Budd, Max Eastley, Michael Nyman, and others.
Relics tell stories, take listeners on acoustic journeys, or document situations. They can be poems, studio productions, field recordings, or something completely different. 53-minute mix representing my series Fundstück on DLF-Kultur with pieces by Anne Waldman, Helga Goetze, Mark E. Smith, Timothy Leary, and 26 other artists.
The Jukebox gets expanded with improvised Baroque chamber music that’s rooted in rock, the inner voyage of a miserable soul, notions of the uncanny, and a forward thinking Jamaican collective. 42 minutes with tunes by Don Cherry, Gazelle Twin, Mariah, Sentimentale Jugend, and others – produced between 1969 and 2021.
“The ecological catastrophe begins rehearsing in the sixties”, writes Allen Ginsberg in 1970; and for more than half a century, political systems are unwilling to fight that development. 45 minutes with sounds of protest – uttered between 1969 and 2020 by Appleblim, Diane Di Prima, Leslie Winer, Piero Umiliani, and others.
The stoic, almost machine like drumming of so many German tunes from the early seventies becomes the trademark of a new sound – different from British pop or American rock, and in no way related to the country’s horrible nazi past. 48 minutes with Cluster, Faust, Harmonia 76, La Düsseldorf, and more.
Yellow Magic Orchestra’s concept of connecting pop, dance music, and Far Eastern folklore quickly becomes synonymous with technopop in Japan. The band’s members also occur in each others solo recordings and cooperate with other musicians. 49 minutes with Apogee & Perigee, Friends Of Earth, Miharu Koshi, Ryuichi Sakamoto & The Kakutougi Session, and more.
After years of increasing harshness on the dancefloor culminating in Gabber, round 1992 the time has come for exploring more friendly grounds. 55-minute mix from the advent of personal computers and the internet for everyone – with tracks by Acid Jesus, The Black Dog, Cylob, Like A Tim, and others.
Fuelled by collaborations between producers, singers, and studio musicians in ever new constellations, the seventies mark the transition from ska and rocksteady into a multitude of styles in Jamaica. 46 minutes with Keith Hudson, Norma White & Brentford Disco Set, Sound Dimension, Susan Cadogan, and more.
The Jukebox series starts with European ideas about reggae, some stoic drumming, a reflection on alienation, and a track capturing the atmosphere in Tokyo during the early eighties. 54 minutes with works by Alec Empire, Jun Togawa Unit, Pink Industry, The Red Krayola, and others – made between 1968 and 2008.
Aware of musical traditions and eager to incorporate the latest technology in his productions, Haruomi Hosono is one of the most versatile and influential figures in Japanese popular culture. 44-minute program with various collaborations and solo works by the co-founder of Yellow Magic Orchestra – realized between 1975 and 1995.
A politician’s elusion becomes poetry, music of the collective subconscious is transferred into a dreamy landscape, and insects’ microtonal sounds get rhythmic. 36 minutes with pieces by Blancmange, Graeme Revell, Gregory Whitehead, Holger Hiller, and others – realized between 1967 and 2011.
Free of artificial ornamentation, well balanced, and designed with love for detail, some eighties Japanese ambient music resembles the concept of the countries’ traditional gardens. 51 minutes of music striving to enhance environments – with works by Haruomi Hosono, Inoyama Land, Masahiro Sugaya, Yasuaki Shimizu, and others.
Paying homage to flying machines and next generation’s minimalism, singing in an invented language that’s both mysterious and familiar, and a special kind of rain. 43-minute mix with pieces by Anna Homler and Steve Moshier, Ennio Morricone, Harold Budd, The Human League, and others – made between 1972 and 2011.
Re-configuring the past, drifting into a future, connecting different worlds, and shaping the profile of a fictitious ethnic group – 43 minutes with music by Bill Drummond, Dadang Dwi Septiyan, Jon Hassell, Malayeen, and others – recorded between 1971 and 2020.
Minimal melodies from Japan and Arctic Norway, music for ex army gymnasts bounding about in rubber costumes, and something from New York‘s Downtown. 55 minutes with works by Aqua Regia, The Caretaker, Midori Takada, The Residents, and others – realized between 1969 and 2019.
Compiling a varied and dense collection of artistic concepts, the subscription only tape label Tellus documents New York’s expansive art scene between 1983 and ’93. 29-minute program featuring tracks from 13 releases, with works by Cardboard Air Band, Gretchen Bender, Liquid Liquid, Remko Scha, and others.
O’Tannenbaum, 13 X 20, 180 min.
O’Tannenbaum, 01 IX 20, 323 min.
Owing to a straightness rooted in punk, new things and personalities get invented everywhere and all the time in West-Germany’s music scene of the eighties. 53-minute program with Freiwillige Selbstkontrolle, Holger Hiller, Ingrid Wiener & Chor, Martin Kippenberger, and others.
Traditional instruments and music – twisted by composers, improvisers, rockers, synthesists, industrial and electronic musicians. 43-minute mix with works by The 13th Tribe, Don Cherry, Harry Hosono and the Yellow Magic Band, Sun City Girls, and more, realized between 1967 and 1994.
O’Tannenbaum, 04 VIII 20, 300 min.
Being one of the leading protagonists of avantgarde and experimental audio art during the second half of the 20th century, Henri Chopin was among the first to make use of a tape recorder’s true potential.
NNOI-Festival, 05 VII 20, 345 min.
O’Tannenbaum, 16 VI 20, 218 min.
Only the development of new technologies will mark the progress of sound poetry, states Enzo Minarelli in his manifesto on Polipoesia from 1987. On the basis of 11 sound poems, Minarelli talks about the concept of Polipoesia, and where it all started.
White Lady I called a cassette bought in Morocco in the early nineties. It was traditional music like on this tape that Paul Bowles recorded in the fifties and sixties on numerous trips throughout the country. Artists like Allen Ginsberg, Brion Gysin, or William Burroughs were visiting the Tangier based author frequently.
Whether conceptual or performance art, electronic music, counterculture, minimalism, drone music, or Fluxus. New York is a hotbed for all sorts of experiments during the sixties. 62 minutes with Angus MacLise, Henry Flynt, La Monte Young & Marian Zazeela, Richard Maxfield, and more.
O’Tannenbaum, 25 II 20, 345 min.
O’Tannenbaum, 14 I 20, 357 min.
O’Tannenbaum, 10 XII 19, 274 min.
O’Tannenbaum, 29 X 19, 340 min.