KLANGHORIZONTE DECEMBER 19
FIRST HOUR – NEW ALBUMS – talking 1 / Gwenifer Raymond: Strange Lights over Garth Mountain, from Strange Light over Garth Mountain / Dino Saluzzi: Ausencias, from Albores / talking 2 / Matt Berninger: Loved so little, from Serpentine Prison (produced by Booker T. Jones) / Dino Saluzzi: Intimo, from Albores / Lambchop: Reservations, from Trip / Loma: Thorn, from Don‘t Shy Away / talking 3 / Music from the album Super Heavy Metal Music (definitely not heavy metal as you know it)
SECOND HOUR – NEW ALBUMS – Sternzeit – Belbury Poly, from The Gone Away / talking 1 / Simon Kirby, Tom Perman, Rob St. John: Phonaestheme, from Sing the Gloaming / Roger and Brian Eno: Manganese, from Luminous / talking 3 / Anja Lechner & Francois Couturier, from Lontano / Ian William Craig and David Lentz: Track 2, from In a Word / talking 4 / Peter Schwalm & Arve Henriksen, from Neuzeit
THIRD HOUR – CLOSE-UP: „Just as you are“ – Robert Wyatt and Alfie Benge (based on the book „Side By Side“, songs, paintings, my unforgettable encounters, once upon a time, with the couple at London‘s Westbank, and a very fine biography) – Kalenderblatt
FOURTH HOUR – TIME TRAVEL 1 – talking 1 / Beverly Glenn-Copeland: La Vita, Ever New, from Transmissions – The Music of Beverly Glenn-Copeland / talking 2 / Neil Young: Separate Ways, from Homegrown / Willie Nelson: from the album Stardust (produced by Booker T. Jones) / Bernard Herrmann: from Vertigo O.S.T / Ran Blake & Andrew Rathbun: Vertigo, from Northern Noir / Al Green: Judy, aus Let‘s Stay Together / Ran Blake & Andrew Rathbun: Judy, from Northern Noir / talking 3 / Gary Peacock, Keith Jarrett, Jack DeJohnette: Tone Field, from Tales of Another
FIFTH HOUR – TIME TRAVEL 2 – Terje Rypdal: two compositions from Descendre, with Palle Mikkelborg and Jon Christensen / talking 1 / Jon Hassell: Hex, from Vernal Equinox /// Nachrichten und Tagesspiegel um 5.30 bis 5.40 /// Robert Wyatt: A Beautiful Peace, from: Comicopera / talking 2 / Tony Allen: Ise Nla, Morose, Aye Le, from: Lagos No Shaking
KLANGHORIZONTE DECEMBER 26
FIRST HOUR – LOOKING BACK ON SOME EXCELLENT RECORDS OF 2020 (part 1) – talking 1 / Die Wilde Jagd: Damian, from Haut / Eivind Aarset & Jan Bang, from Snow Catches On Her Eyelashes / talking 2 / Bill Callahan: from Gold Record / Vox Clamantis & Cyrillus Kreek, from The Suspended Harp of Babel / Burd Ellen, from Says The Never Beyond / talking 3 / Shabaka & The Ancestors, one track from We Are Sent Here By History / Tunng: from Dead Club / talking 3 / Jon Balke: from Discourses
SECOND HOUR – LOOKING BACK ON SOME MORE EXCELLENT RECORDS OF 2020 (part 2) – STERNZEIT / talking 1 / Hen Ogledd, from Free Humans / The Flaming Lips, from American Head / talking 2 / Aquiles Navarro & Tcheser Holmes: Initial Meditation, Plantains, Pueblo, from Heritage of the Invisible II / talking 3 / Alabaster DePlume, from To Cy and Lee, Instrumentals Vol. 1 / Anja Lechner & Francois Couturier, from Lontano / Steve Tibbetts speaking on „Lontano“ and „Promontoire“ / Benjamin Moussay, from Promontoire / Einstürzende Neubauten, from Alles in allem / talking 4 / Jon Hassell, from Seeing Through Sound (Pentimento Vol. 2)
THIRD HOUR – CLOSE-UP – „Brian‘s soundtracks for real and imaginary films“ (feat. „Film Music 1976-2020“, & „Music For Films“ (1978)) incl. a fresh interview with Eno
FOURTH HOUR – TIME TRAVEL 1 – „Notes & sounds from a finally unearthed treasure: „From Brussels with Love“ from 1980“ * (a kind of collage…feat. my favourite sing from Thomas Dolby, great pieces from The Durutti Column, A Certain Ratio, Gavin Bryars, and an Eno interview solo from 1980 may be interesting, as perhaps my little counterpoint, music from the o.s.t. „Barry Lyndon“)
FIFTH HOUR – TIME TRAVEL 2 – part 1 – talking 1 / Ryuichi Sakamoto: Boku No Kakera, Saru To Yuki To Gomi No Kodoma, Kacha Kucha Ne, The Garden of Popples, Relaché, from Hidari Ude No Yume (reissue of The Lefthanded Dream) / NACHRICHTEN 5.30 Uhr / part 2 – V.A. (Dvaram V. Naido a.o.) How The River Ganges Flows (according to Third Man Records, „a transcendent collection of Carnatic violin performances captured on 78 rpm disc between 1933 and 1952 (…) Most of these sublime recordings have not been heard since they were first etched in shellac decades ago. These melodies are ethereal and transporting: meditative. The rhythms undulate from despair to ecstasy, often within the same phrase.” / in between all these „violin shellacs— there will be one song by M. Ward from his Billie Holiday homage, and the final song of the night: John Lennon’s Instant Karma
* „Wenn mit FROM BRUSSELS WITH LOVE jene Compilation aus Belgien gemeint ist … die jetzt wiederveröffentlicht wird, dann kann ich nur sagen: ich höre mich seit einigen Tagen wiedermal durch die alte MadeToMeasure-Serie, die ich seit Jahren sehr schätze. Überhaupt bescherte mir das Label Crépuscule immer schon Musik, die sich nicht in Worte fassen lässt, die immer den Zwiespalt zwischen mysteriös, schräg, obskur, somnambul, experimentell, Fragezeichen, Bauchschmerzen und Kopfweh auf der einen Seite und bittersweet, intellektuell, überraschend, schön, Hymnus, Elegie & Verführung auf der anderen Seite zu überbrücken vermochte. Nicht B-Ware, wie vieles aus dem Pop der Benelux,sondern Eins-A-Kram von einem völlig anderen Ufer (Fjorde gibts da ja nicht …). Was mir da alles an Inspirationen entgegenschwappte … Immer noch fasziniert mich das, ohne dass ichs zu erklären vermöchte. Mich befällt beim Hören das Gefühl, Sie hätten Ihr Sendekonzept dorther …“
(Olaf Pawlicki)
„This particular repackaging of a past aural/oral and visual culture is a resplendent one; you can while away the time by perusing beguiling old photographs of Annik Honoré and the Bunnymen’s Will Sergeant, or read typically acerbic reviews by the likes of Paul du Noyer. A far cry from that musty and murky DIY era, when the photocopy machine and stereo radio/cassette recorder shaped an uncertain world. (…) Multiformat reissues of old albums, however “iconic”, are now part of the never-ending treadmill of pop eating itself. I can forgive those who think it’s all a bit too much, especially in the times we find ourselves in. But, at the end of the world or not, there is something wonderful when fond memories of forgotten or lost music can be given a new life and meaning. From Brussels with Love (or Witlof, if you want to hear an old in-joke) is one such.“
(Richard Foster, TheQuietus)
