„DRIFTING ON MARGINS“
Lankum FALSE LANKUM (folk / drone / experimental)
THUNDER Stephan Micus (meditation / global)
SUSS SUSS (country ambient)
PSYCHOGEOGRAPHY Jon Hassell THE LIVING CITY (coffee coloured classical)
Brian Eno FOREVER VOICELESS (ambient / contemp.)
RARITIES Roger Eno (neo classical / ambient)
The Necks TRAVEL (where-am-i-music)
UNE AVENTURE DE VV Aksak Maboul (songspiel/ bricolage)
Benjamin Lew / Steven Brown: LA DOUXIÈME JOURNÉE (1982, avant exotica)
THEORY OF BECOMING Evgueni Alperine (find a label, good luck)
Paul St. Hilaire TIKIMAN VOL. 1 (dub)
including interview excerpts with Lankum,
Marc Hollander (Aksak Maboul), and
a passage from my 1990 Jon Hassell talk on
City: Works of Fiction
(the photo is from an area called, no kidding, „Little Africa“, on the
island of Sylt)
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This piece, „Bamakou ou Ailleurs“, is from a surreal trip by Benjamin Lew and Steven Brown, from 1982. The album, „La Douxième Journée (la verbe, la parure, l’amour)“, a classic for the MADE TO MEASURE series will have a discreet appearance in „Klanghorizonte“. It has been recently reissued on CD and vinyl, and it is (and has always been) a stunner!
*
Working on this radio hour, I find myself more and more like a collagist Aksak-
Maboul-style. You can be sure to enter quite different soundscapes (seasides included) all different from one
another, but internally connected by story, mood, birdsong (some), and drifting on margins. Nearly at the end
I got that fine LP RARITIES from Deutsche Grammofon Gesellschaft, and Roger Eno wrote me some lines about the growing of this dreamlike composition, „Still Day“, full of yearning, drifting, and distant echoes of Classical European Neo-Romantic.
‘Still Day’ was born of a chordal sequence I wrote, a loose framework to be improvised over. At that time I was working with Violinist Rosie Toll whose improvisation we hear on this recording – though not played here by her…… I sent a rough recording-recorded on a ‚hand held’ device to Max Knoth who, on the prompting of Christian Badzura, transcribed and arranged this for unison strings. So what you now hear is the work of myself, Rosie, Max and Christian plus the musicians that played the transcription. Parts are added, uncertainty is encouraged and the end…well where does that happen? I like this how this very much how this process as through this the piece became exactly what I wished it to be – a thing not ‘designed’ by myself but one to be allowed to grow ‘organically’. There you go Michael. Roger and Out“