Greetings Fellow Residents Of The Electronic Cottage: Since the completion of my last audio project, I have directed my artistic whims toward visual art. Anyone who has ventured into the Taped Rugs Universe has come in contact with my black and white collage graphics. I have been assembling these collages, which, of late, I have been calling: "Groffics," for many, many years. They help me focus my ill-equipped human mind as it struggles to comprehend the complexities of all the things it perceives and conceives. Sharing these assemblages provides observers with potential opportunities for entertainment, and possibly even a bit of exercise for their mental muscles. Those of you who are familiar with the history of art, as applied by human beings at least, are likely to notice that my creations have much in common with the works of my artistic predecessors, particularly those made by Dadaists and Surrealists. I venture that my Groffics are nothing new stylistically, but the form does meet my needs very well, and I appreciate that I have the opportunity to follow in the footsteps of the many great artists who have paved the paths which I tread. My process begins by hunting down old books, pamphlets, and other bits of printed matter that contain line drawings and/or simply-composed black and white photos. Pre-1970's advertisements, instruction manuals, science text books, etc., are my favorite sources for such materials. Of course, I also include my own original photographs and sketches in this hunt. These I pore over, computer-scanning any images that I imagine may be of use to me. I keep these images in my computer as raw materials, which I later refine into building blocks for collages. To all the artists and photographers (most of whom are long dead), whose work is unknowingly manipulated into my works, I offer my sincerest gratitude for your contributions. It is you, my uncredited brethren, who truly bring the human element into my visions, somewhat similarly to the way Campbells once spilled soup into Warhol's silk screens. Various computer software serves as the scissors and glue for assembling my collages. The first step in refining my raw images into collage building blocks generally involves turning them into "threshold" or true black-on-white images. My experiments over the years have shown that thresholds are the most easily-edited and reproducible images for assembling collages. Next, I usually attempt to turn each building block into a self-contained image, bordered on all sides in black. This makes it easy to computer-copy as a whole, and, thus, easy to manipulate within a collage. The actual collaging together of a Groffic is very much a trial-and-error sort of thing. The most common computer processes that I employ as I paste together these building blocks are: re- sizing, re-angling, darkening, lightening, and whitening. I try to limit my use of most other fancy-dancy computer graphic editing tools, but they do come in handy on occasion. Of course, my imagination is the wild card element that gives each Groffic its unique qualities. As with all forms of art, I end up with many failed experiments before my sensibilities are comforted by a finished result (and sometimes, upon re-examination, I am discomforted by results I once considered comforting...). Over the years, I have matched many of my Groffics with Taped Rugs audio to use as cover art for albums. Some also have appeared in calendars, booklets, and propaganda that I have produced. Many of my collages have never been shared with the public. I here offer eight of the Groffics that I have assembled since the completion of my last audio project in late June. Click on any of the pics (both above and below) if you wish to view a larger, more detailed, version. Thanks much for your attention!
7 Comments
Hello again and welcome to the third round of revelations about my ongoing Doors homage album. This time I'm taking you all on a trip down to "L'America". The final recordings made by the Doors with Jim Morrison appear on the 1971 L.A. Woman album. Most of these recordings were cooked up by the Doors without the assistance of their long-time producer, Paul Rothchild, but I'm guessing Rothchild actually was involved in "L'America", because this song was recorded a long time before all the other music on L.A. Woman. L'America was originally written to be part of the soundtrack to Michelangelo Antonioni's 1970 anarchistic counterculture movie: Zabriskie Point. But Antonioni rejected it. I've seen the movie, and it features music by Pink Floyd, the Grateful Dead, and other psychedelic 1960's groups. While much of the film was shot in the deserts bordering Mexico, none of the film is actually set in L'America (Latin America). I have no idea whether this factor had anything to do with Antonioni's rejection, but I thought I'd mention it just to add a little background for people unfamiliar with the film. Anyway, I've always felt this song was a stand-out on the LA Woman album. It has lots of interesting twists and turns, while it maintains an insistently catchy pulse throughout. Plus, the lyrics are quite thought-provoking. Doors drummer John Densmore claims the bit about trading "beads for a pint of gold" is a reference to a pot purchase. And, of course, the line – "he'll even teach you how to ... find yourself" has a rhyming connection that packs an unforgettable punch. Here's a list of the tools I used to create my interpretation of the song: "The Doors Complete": a songbook produced by Warner Brothers in 1983 Computers: Windows XP, Windows 10 Software: Cool Edit Pro II, Audacity, Midisoft MIDI Scorewriter, Windows Media Player, Roxio 2011 Sound Recorder, Several Plug-In Audio Sound Effects Fender "Reflector" Stratocaster Electric Guitar (1990's Squire Model) Aklot Electro-Acoustic Soprano Ukulele Korg R3 Vocoder/Synthesizer A Tom Tom from a cheap, standard drum kit, played with brushes An original recording of a Thunderstorm and Train that I made in 2007 My Voice A cheap, barebones, 4-channel, Radio Shack Mixer Like the "Unknown Soldier", which I discussed in my previous post, "L'America" is made up of several different "movements." The beginning and the ending are similar enough that I could work out some of the arrangements for these sections almost as if they were one-in-the-same. There are two sort of basic "rock and roll" sections between these two ends of the song, which each needed some specific attention of its own. And finally, a sort of "carnival" interlude pops up between the rock and roll bits. As with my "Unknown Soldier", I started out this production by transposing notation from the Doors songbook into my Midisoft Scorewriter, creating four bare bones MIDI files that I could arrange individually. I set the tempo of these files to mimic the tempo of the Doors original "L'America". I then arranged several variations of each file to create base tracks for each movement of the song -- many more variations than I had made for my "Unknown Soldier". My overall plan was to produce a piece full of unique sonic mood shifts to bring out some of the variety that I heard in the original Doors recording. The Doors original creates its variety using only basic rock instrumentation -- very well performed instrumentation, of course, but no instruments are involved outside of the Doors' usual voice, keys, guitar, and drums ensemble. (NOTE: Jerry Scheff plays bass on all the songs on the L.A. Woman album except "L'America"). My version features a more orchestrated type of variety. I then recorded vocals to augment each MIDI movement (of course, none were needed for the non-vocal carnival bit). In this effort, I employed the same processes that I discussed in my previous posts, including running one of my microphones through my vocoder. For the background vocals, I experimented for a long while, playing with a wide variety of settings on the vocoder. To me, the thing that really holds the Doors "L'America" together is Densmore's drumming. I love to play around with percussion, but I have only limited talent when it comes to playing an entire song's worth of consistent rhythms, so drumming all the way through this song would have been a very challenging option for me. And, while I often employ generated electronic or MIDI drums in my compositions, I didn't think either of these approaches would give a proper nod to Densmore's talents, nor fit with my overall vision for the song either. So... I recorded some bits of spot drumming on an old Tom Tom, employing not sticks, but brushes. I played around a lot with technique in this experiment -- I tried holding one brush hard on the drumhead and pounding it with the other -- I tried angling the bristles in different ways -- I tried rubbing the brushes on the drums in different patterns -- you get the idea... Drums are some of the most difficult instruments to record with decent sound quality, but after a bit of trial-and-error, I got a couple of mics placed and mixer levels set to achieve some nice, undistorted, punch -- all edged with a bit of reverb. My eventual results allowed me to double-track bits of what I recorded into a few nice embellishments that jump out and move the song along at critical moments. The four-note repetition that makes up the backbone of the opening and ending bits of "L'America" seemed to me to be just the sort of sequence that could be orchestrated with a lot of different sounds. So my next experiments involved playing those four notes with an electric guitar and an electro-acoustic ukulele -- with each plugged through my Korg vocoder. My acquisition of this particular ukulele was directly related to me working on this Doors homage album. When I first conceived of this project, before I had actually recorded anything, I had planned to use a Mahalo ukulele, which has been in my possession since 2005, and which has embellished many of my recordings since that time. But when I got it out of the closet and started playing it, I heard a nasty new string buzz coming from the bridge. I tried to fix it myself, but had no luck. I knew taking it to a luthier to get it fixed would cost more than the uke was worth, so it was time for me to buy a new one. The one I got has a built in pick up and tuner -- it plays real nice too. This new "Aklot" model will make its Taped Rugs debut on three of the songs that I have recorded for my Doors homage. The Korg R3 vocoder is set up to create an infinity of combinations of effects and filters -- so I let my patience and imagination settle in for plenty of experiments when recording the guitar and ukulele bits. I also played around with ideas for a lead to accompany the ending of the song. I was really trying to achieve something unique for this lead, and methinks that the odd, counter-rhythmic, vocoded uke thing that I ended up with met my goal quite nicely. The last recorded bits I created for L'America came from the vocoder / synthesizer, played on its own, with nothing plugged through it. I recorded some spacy atmospherics to strategically locate within the final mix, as well as an intro bit. "L'America" is a song about taking a trip, and, almost subconsciously, I ended up using the vocoder's arpeggiator to get a repetitive rhythmic effect for the intro, sort of mimicking the rhythm of a train on the tracks. As with the other songs I that I discussed in my previous posts, I sculpted together all my sound edits into a final mix with Cool Edit Pro software. Like the "Unknown Soldier", "L'America" was gradually assembled together from its beginning to its end. The thunderstorm at the beginning worked perfectly, setting the scene for all the song's lyrics about rain, bleeding its train right into the vocoder's rhythms. Tweaking the timing between the various movements of this piece took some work to create a proper sense of continuity, but after that was achieved, all the blocks seemed to fall nicely into place. Methinks my version of "L'America" takes listeners on a bit more of an experimental journey than the "Moonlight Drive" and "Unknown Soldier" that I shared with you all in my previous posts. I wonder at the reactions it will produce. I intend on doing one more recording before I'm finished with the homage. When it's all done, album notes will provide a few more insights into the project's production. Like the three songs I've shared so far, each of the other songs has its own quirks, making the whole presentation an ever-shifting set of perspectives on the Doors. Thanks much for going on this little journey with me.
Hello again and welcome to the second unraveling of the mysteries that surround my ongoing homage to the Doors. In this episode I discuss how I took on the task of interpreting The Unknown Soldier. This was the third piece I worked on for the album, taking about three weeks to complete during March, 2019. I chose this song for my homage because it always impressed me as being one of the most powerful anti-war anthems of the Vietnam era. The lyrics apply not only to the Vietnam-US conflict, but to the sad plight of soldiers who fight in any and all wars. The way that the Doors performed the song onstage was impressively dramatic: Krieger would literally "shoot" his guitar at Morrison, who would thump hard to the stage to mimic having his life torn out by a large caliber bullet. I myself worked as a professional activist off and on for the better part of twelve years during the 1980's and 1990's, and the US military was often the focus of the campaigns I allied myself with. Over the course of 40 or so years, I have performed and recorded lots of music that has addressed the subject of war, particularly the wars that my own USA has been involved in. This issue is quite timely right now, as twenty US veterans per day currently are taking their own lives, and the USA is now threatening to extend its military aggression into Venezuela and Iran. In my previous post, I discussed a lot of the techniques which I also employed in the production of my Unknown Soldier, so I won't be detailing all of those again. As I mentioned in that last post, all of my recordings have their own unique quirks, so I still have plenty to talk about here. Here's a list of some of the tools I used to create this piece: "The Doors Complete": a songbook produced by Warner Brothers in 1983 Computers: Windows XP, Windows 10 Software: Cool Edit Pro II, Audacity, Midisoft MIDI Scorewriter, Windows Media Player, Roxio 2011 Sound Recorder, Several Plug-In Audio Sound Effects Fender "Reflector" Stratocaster Electric Guitar (1990's Squire Model) Various Analog Foot Pedal Sound Effects For Guitar Korg R3 Vocoder/Synthesizer A few pre-recorded sounds from the online BBC Sound Effects Library My Voice A cheap, barebones, 4-channel, Radio Shack Mixer I started creating this piece by entering the notation from the songbook into my Midisoft Scorewriter. This bit of software was originally a stock program included with a 1995 Aptiva computer. I have never seen it offered anywhere else. It is a very intuitive program, much easier to use than other MIDI scorewriters that I have played with over the years. With a bit of tweaking, I got it to work with Windows 98, Windows 2000, and Windows Vista. It doesn't work with my Windows 10, however, so I now have it installed in a Windows XP laptop, where it works relatively well, although it does suffer some hiccups on occasion. This MIDI scorewriter has served as a backbone and supplement to many of my recordings over the years. The scorewriter provides composers with several choices of virtual instruments, options to transpose keys and tempos, the ability to cut and paste portions of individual tracks, the ability to pan and alter volumes of individual tracks - and all this data can be stored in tiny files that take up less than a megabyte of computer space each. This means that several variations of the same notes, each with a unique arrangement of accompanying sounds, can be created without me having to learn how to play several dozen musical instruments. Using this technology allowed me to arrange and orchestrate the notation for the first verse of my Unknown Soldier differently from the second verse/coda, helping me to build the momentum of the song toward a powerful ending. Next I recorded my vocals, employing similar techniques to those I used to produce my Moonlight Drive, but with some important differences. Unlike Moonlight Drive, The Unknown Soldier contains four very different "movements," so I made four individual vocal recordings to use as building blocks for my multi track mix. This meant I also needed to create multiple draft instrumental movements to sing along with in order to produce these individual vocal recordings. I basically broke the song down into: 1) the quiet intros to both the first and second verses 2) the first verse 3) the firing squad (no instruments back the vocals in this section, so no backing track needed) 4) the second verse/coda The most challenging part of this process was making a clear recording of the "Company Halt!, Present Arms!" firing squad bit. This part of the song needs to show off some harsh yelling, which is difficult to capture in a recording that isn't blistered by a buzz of distortion. Simply turning down the inputs from the microphones cuts out a lot of the "edge" of the vocals, so that approach was not an option. I ended up standing all the way across the room from the microphones to get the best results. Next came the recording of the Korg vocoder/synthesizer bits that "color" much of the song. I spent a few hours creating six individual raw recordings of the Korg, each focused around a unique arrangement of knob settings. I not only played along with draft instrumental recordings in this process, but I also explored the sound environments that I could create without any draft instrumental guides whatsoever. I then edited out a wide variety of audio "color" bits from these raw recordings to later add to my multi-track mix. I also wanted to spot some flashes of electronic guitar in my Unknown Soldier, so I jammed along with the draft instrumentals for a couple of hours in an attempt to develop a few uniquely fancy flourishes of the fingers. This was a particularly time-consuming process, involving various settings of my guitar sound effects, lots of trial-and-error in stringing together collections of notes, and a considerable amount of fancy footwork on the pedals. In the end, I produced three tiny guitar leads and a few power chords to add to the multi-track mix. Instead of assembling the multi-track mix around a single element of the song, as I had done with the acoustic guitar track in my Moonlight Drive, I sculpted my Unknown Soldier in a linear "start-to-finish" fashion. Of course, it was necessary to proceed in this manner, because the "movements" of The Unknown Soldier do not follow a universal rhythmic pattern, but instead, each movement has a pace all its own. Putting together such multi-track mixes requires a lot of trial and error to create just the right "flow" for a song. It also is my overall favorite process when creating recordings, because it is the point at which so many of my preconceived ideas for arranging sounds are actually executed, and I get to hear whether my preconceptions were successes or failures. Indeed, the trial-and-error multi-track sculpting process is the literal definition of "experimental music" - it's simply not easy for me to get bored when arranging and rearranging a bunch of unique sounds into one-of-a-kind orchestrations. In the case of my Unknown Soldier, I produced fifteen different multi- track mixes before I felt I had achieved my ultimate goal. The last mix, which is offered above, was created about a week after its predecessor, in order for me to tweak it with "fresh ears." I now wrap up this post in the hope that, once again, you readers out there have gotten a bit of entertainment from my convoluted verbiage (and, of course, from my recording as well). Yesterday I finished mixing the seventh of my Doors homage pieces. I will offer at least one more post about my composing techniques to the Electronic Cottage before my album is made public. Thanks again to you all for your attention.
Welcome to my personal little universe, located deep within the recording studio of Taped Rugs Productions. What you're about to dive into is an experiment in sharing some of my techniques, motivations, and quirks -- a peek at the essence of my artistry. I realize, of course, that many readers will quickly lose interest when trying to interpret my poor attempts at describing the unusual ways that I squeeze the life out of old and unfamiliar technologies, but, if after this post is online a while, I get a sense that there is some sort of genuine audience for what I write here today, much more will follow. Last October I joined the ranks of those who have spent six decades on the planet. I decided it was time to carry out a plan that I have had in the back of my mind for many of those years -- creating an homage album to the Doors (yes, that's the Densmore, Krieger, Manzarek, Morrison group). Back in 1967, the Doors first album was released, and the unique qualities of the seven-minute long hit: "Light My Fire" got burned solidly into my little eight-year-old brain. As the months passed into 1968, I began to regularly borrow my sister's "The Doors" album, playing each side over and over, day after day. My sister eventually purchased a copy of the record for me, because she did not want me to completely wear out her copy (although I think it was already too late by the time she gave it to me). This album was my first in-depth exploration of "contemporary" music, and it left an impression that has remained with me all my life. For my young impressionable self, the Doors came across as unique among the bands of the day, and as I grew older, I came to appreciate the musicianship of each member of the group, as well as the lyrical genius of Morrison. In this post, I will describe the processes that led to the first piece I recorded for this Doors homage. I chose "Moonlight Drive" to kick off the action. I picked this piece, not because it was the first song that Morrison and Manzarek ever cooked up together, but because I have had a bootleg album (recorded at the Matrix in San Francisco in 1967) entitled "Moonlight Drive" in my possession since the middle 1970's, and the performances on that record have always particularly inspired me. For those of you readers who are unfamiliar with my methods, you should know that I approach each recording I make, originals and covers, with the belief that it should have a life of its own - free to range within and without the boundaries of musical traditions and precedents. This means that all my cover songs, while containing elements of their antecedents, usually fly far afield of the originals. Here's a list of some of the tools I used to create this piece: "The Doors Complete": a songbook produced by Warner Brothers in 1983 "The Lost Writings Of Jim Morrison": a book of poems, Villard Books, NY, 1989 Computers: Windows XP, Windows 10 Software: Cool Edit Pro II, Audacity, Midisoft MIDI Scorewriter, Windows Media Player, Several Plug-In Audio Sound Effects Ovation Celebrity Electro-Acoustic Guitar (1990's, big belly, model) Korg R3 Vocoder/Synthesizer Music Boxes: (a variety, all mounted together into a resonant metal cookie box, fashioned by yours truly) Field Recording: "Dog Island Tide Coming In" (acquired from a personally recorded cassette that I picked up at a used book sale, hosted by a local church charity) A selection of short, pre-recorded, percussion samples from a collection of sound effects called the "Janus Professional Sound Library" (1990's) A generic MIDI recording of "Love Her Madly," acquired via the internet My Voice A cheap, barebones, 4-channel, Radio Shack Mixer Last December I started learning the chords for Moonlight Drive on my acoustic guitar. I kept the tempo of the original for the most part, but I wanted to add a little something, so I cooked up an intro of descending chords that I mated to a Morrison poem called "Underwaterfall." I used this same descending chord sequence at the end of the song for the final lyrics as well. It wasn't until early February that I actually got down to recording the acoustic guitar bit for the song, however, which meant that I had a long time to refine exactly how I would play it. I suffer no illusion that my guitar talents are in any way comparable to those of Robbie Krieger. I decided to avoid using an electric guitar or a bottleneck slide (which are both prominently featured in the Doors' version of the song), and simply tried to make the most of what talents I possess with an original arrangement on my acoustic guitar. My Ovation was recorded through a direct line from the guitar to the computer -- no effects added. Whenever I am sculpting a song, I record several versions of every instrument I employ; then I spend lots of time picking out the best version -- or constructing a best version from small portions of various takes. After that, I clean up any hisses, clicks, extraneous noises, and save the refined result as a building block to later add to a multi-track mix. Thus I did do with the acoustic guitar. Next up, I recorded a number of lead vocals and backing vocals. These days I never record overdubs directly onto a mix with other material. Instead, I first make a draft backing track to sing along with (or play an instrument along with), and I listen to that backing with Windows Media Player while I record new "raw" material through Cool Edit Pro or Audacity software. In this way, the recording software only records the new material, not a blend of the new material mated to the draft backing track. This technique allows me to produce a recording containing as many takes as I want. On this, I can play around with variant approaches to singing the same lyrics, run my voice through a variety of effects -- all sorts of experiments can be recorded on this one long track. Then later, pieces from this track can be edited out and saved as more building blocks to incorporate into a multi-track mix. I often record my vocals with two microphones. One mic goes directly into the mixer. The other goes first through some sort of sound modifier before it goes to the mixer. In the case of Moonlight Drive, I used my Korg R3 as a modifier, altering various parameters, particularly echoes and pitches. Next I recorded my conglomerate of music boxes (see photo above). I attached a contact microphone to the metal cookie container that houses the music boxes and plugged it into my Korg R3. The R3 is equipped with many sound effects, and I experimented with several of these as I wound and rewound the boxes and hand cranked the hand cranks -- freely experimenting for about 30 minutes. Next I began sculpting the actual multi track mix, which I created on Cool Edit Pro II. You can get a little idea of how much work went into this from the screen shot above. In the multi-track sculpting process that I use, any arrangement is possible, as long as the building blocks all contain unique material that is unmated to other building blocks. I generally do a lot of arranging and rearranging until my artistic senses are satisfied.
I first matched the vocal edits with the guitar parts. I then created and added an additional lead vocal track that was slightly harmonically enhanced, to give my voice a bit of an edge. The backing vocals required a good deal of trial and error to figure out where to locate them within the mix. I wanted the ocean tide at both ends of the song. I edited out bits from the cassette that were loud enough to be noticeable, and which contained no human chit chat nor other extraneous noises. I also strategically placed some ocean tide in the middle of the song. Similarly, I inserted edits of the music box recording toward the beginning and end of the song, as well as between a couple of the verses. The Janus sampled percussion bits came next. I painstakingly spliced and diced several of these in various ways to fit like puzzle pieces into the multitrack mix. These are the tiniest slices that you can see in the screen shot above. I intentionally applied them sparingly to make them jump out a bit within the mix. For the last verse, I wanted to get that "full powered-up engine" feeling. My voice inflections supply some of that energy, but I wanted to somehow incorporate the power of Densmore's drumming to boost the "vibe" in this part of the song. This led me to locating a MIDI recording of the Doors' "Love Her Madly" online, downloading it, extracting the drum track with my MIDI scorewriting program, then altering the drum tempo and arrangement to fit my Moonlight Drive. Each of the processes described above was quite time consuming, as you might imagine. Keep in mind that each of the bits in the multi track has to be placed and arranged to match all the other elements that are heard along with it. I also must balance the volume and stereo panning of each bit to blend it properly into the mix with all the other sounds in the song. The mix that I am sharing here today was completed after about a month, starting from the time that the acoustic guitar was recorded. I have retained six different mixes, just in case tomorrow I decide that this version isn't the best one. Ok, well, I think I'll wrap up here. I easily could get more detailed in my revelations regarding my Moonlight Drive, but I'm guessing at this point that I've already lost several readers to my long-winded verbiage, and I don't want to lose everybody else here. Again, if I discover that I've got an audience for this sort of revelation, I will be back to discuss how I recorded some of the other pieces for this ongoing Doors homage. Thanks so much for your attention.
I am sharing my submission for this year's Dali Krab Day with the Electronic Cottage community, in the hope that perhaps one or some of you might get motivated to participate in this festival as well. The celebration has been hosted by Mr. Justynn Tyme for many years. This event is for artists of all sorts: verbal, visual, audio, culinary, tactile, etc. And although I have participated in this event on several occasions, I do not feel qualified to properly explain it myself, so I offer this link to any and all who might be inspired by the bizarre, the crab, the Dada, the Dali, etc.:
Dali Krab Website
My little film, entitled "Crab 'Em By The Legs," is merely a Goff concept and should not be regarded as a template for anyone else's submission to the Dali Krab gallery. You will find a wide variety of material posted at the Dali Krab website. It is my sincere belief that individuals who knock on the doors of the Electronic Cottage are particularly suited to partake of the Dali Krab Day festival.
A Description Of My Film: Salvador Dada hosts a program to help seafarers harvest their sunken shellfish. Although now an obstainer, Uncle Rugs once was a crab consumer, and he can verify the validity of the Dali Dances enacted here. I am uncertain there is any genetic relationship between Uncle Rugs and Uncle Wang. This film is not recommended for squeamish sailors nor for virtuous vegans. This film is not for retail nor wholesale consumption. Contents From The Following Sites Were Adapted To Fit Into This Visual Puzzle: https://archive.org/details/youtube-VEKLlTC6ZgQ https://archive.org/details/HowToEatCrab
See new album covers; hear new album tracks; speak about new albums. Swami Loopynanda shows off some of 2018's audio art for curious ears and open minds. Background or foreground, this hour will take you on an adventurous trip, all in the comfort of your own speakers.
Tune in live on KOWS, this Saturday, December 8th, 12:00 AM USA PACIFIC STANDARD TIME (Friday Midnight) here: KOWS Or, anytime for the next month here (this show will disappear in a few weeks): Deprogramming Center 78 If you have ever spent any time around a turkey, you know the "snood" can be fun to watch. Turkeys also make some wonderfully unique sounds. A frozen Turkey embroyo from 1997 has recently hatched, and the results gobble like no others. If you dare hear this phenomenon for yourself, please proceed here: Somnific Snood Happy Thanksgiving From Turkey Makes Me Sleepy
and Artist Justin Jackley Too!
November's Magnetic Bungalow features a classic of Japanese experimental home recording.
Aioi Usui's 1993 cassette album "Lasered Eye" is full of ideas both unique to Japan and universal. The recordings showcase Usui's thoughtful personality as well as his unusual approaches to song writing.
This tape came with a nice little photocopied booklet that includes lyrics and/or descriptions for all of its songs -- written in both Japanese and English. It also came with a fancy transparent envelope that contained some unusual color photographs.
Tune into this program on Saturday, November 17, 2018, 12:00 AM USA Pacific Standard Time on KOWS, 92.5 FM (that's Friday at Midnight), here:
KOWS
Or else, the link below will hook you up to the show any time:
Deprogramming Center 77
Lengthy Sound Exhibits From These Experienced Artists: Experimental, Composed, Improvised, Electronic, Old, New Tune in live on KOWS, this Saturday, October 20th, 12:00 AM USA PACIFIC DAYLIGHT TIME (Friday Midnight) here:
KOWS Or, anytime for the next month here (this show will disappear in a few weeks): Deprogramming Center 75
Δημοσιοϋπαλληλικό Ρετιρέ (Dimosioypalliliko Retire)
Unique Custom 1987 Cassette From Greece
This month's Magnetic Bungalow is a heroic classic - a one of-a-kind adventure into the Greek avant garde. This will especially entertain listeners who enjoy vocalization and parody. If that's you, it's time to cash in your Dada bingo card.
Tune into this program on Saturday, October 6, 2018, 12:00 AM USA Pacific Daylight Time on KOWS, 92.5 FM (that's Friday at Midnight), here:
KOWS Or else, the link below will hook you up to the show any time: The Deprogramming Center 74 |
Swami LoopynandaI am one of the several alter-egos of Charles Rice Goff III. I am best known as a radio host, although I have had some of my reviews published here and there over the years, and have even been involved in occasional recording projects. Archives
June 2020
|