Showy McShowface with Jim the Poet:
Playlist
from July 7, 2022
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View Jim the Poet's profile
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Classic overnight radio with that feel of an unanticipated fill-in! Hour-long installation pieces, murmurs in the dark, endless hurtling to the bottomless abyss! Hi Mom!
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(* = new)
| Artist | Track | Album | Comments | Images | New | Approx. start time | ||||
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| Yuji Dogane / Mamoru Fujieda |
Night
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Ecological Plantron |
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* | 0:00:00 (Pop-up) | |||||
| Andrea Penso |
Organic Shelter
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Organic Shelter |
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0:18:25 (Pop-up) | ||||||
| Pjusk,Chihei Hatakeyama |
Mørkeblå
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Svaberg |
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0:50:04 (Pop-up) | ||||||
| William Basinski |
Cascade
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Cascade |
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1:03:53 (Pop-up) | ||||||
| Jason A Mullinax |
Up to You
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Lullabies for the Synthetic Sleep |
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1:44:09 (Pop-up) | ||||||
| Jason A Mullinax |
Synthetic Sleep
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Lullabies for the Synthetic Sleep |
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1:48:58 (Pop-up) | ||||||
| Jason A Mullinax |
More Than None
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Lullabies for the Synthetic Sleep |
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1:54:08 (Pop-up) | ||||||
| Kamran Sadeghi |
Loss Less (original)
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Loss Less | In the late 1970’s, the U.S. was more than 20 years into its nuclear power program. In Washington State, a consortium of public utilities began what was to be the largest single nuclear power project in the country’s history. Five reactors, divided between sites located near the cities of Hanford and Satsop were intended to be a solution to projected energy demands of the rapidly growing region. The construction was suspended shortly before the facility was completed and what remains is a structure 129 meters across at the base, and rising to a height of nearly 152 meters with an uncanny acoustic quality. From 2004-08 a small team worked to open the space to artistic interpretation, recognizing within the space the interplay of site-specific sound, weathered industrial architecture and the natural environment. About Loss Less: In 2008 Kamran Sadeghi was selected resident artist at Satsop. Inspired by Alvin Lucier’s “I am Sitting In A Room” (1970)—Sadeghi amplified an original electronic music passage with a length of 2 minutes into the open aired structure and recorded the outcome of the tower's acoustic response. This recording was then re-amplified back into the structure and re-recorded. The process was repeated ten times, and with each cycle the natural acoustics of the tower began to reshape the original passage until it disappeared entirely. This approach captured the architectural integrity and holistic immediacy of the nuclear cooling tower while symbolically removing it’s entire existence. The result is a unique 25 minute sonic experience full of audible artifacts that document space, time and our environment. The composition was created on location and in real-time, allowing all natural elements such as wind, rain, wildlife, resonance and feedback-distortion to be a part in the process and therefore the end result. No post production effects were used. The ‘Rework’ version is a studio interpretation recorded live using samples of the original composition, processed through effects and used as a guide for added atmospheric electronic tones as counterpoint. The large throbbing bass drum pattern emphasizes the weight and physicality of the cooling tower, while recalling a sacred ceremonial chants or drums used to converse with or drive away destructive spirits. The title ‘Loss Less’ is a play on the term lossless compression—a type of process that allows for the preservation and and perfect reconstruction of data (audio). In this case the audio was not preserved, but intentionally degraded. The title also taps into the reality of catastrophic loss and destruction caused by nuclear energy, and the call for less. + Kamran Sadeghi is an American (born Iran) producer and composer of electronic music based in New York who is constantly calibrating his creative process through multiple disciplines such as scoring for film, music for choreography, live performance, sound and video art and left-field club music. An autodidact who uses sound as a sculptural material and electronic instruments to create new worlds. Sadeghi first gained recognition for his work under the alias Son Of Rose with multiple critically acclaimed records and live shows. During this time he performed with a grand piano and resonating the strings with magnets. This electronically prepared piano was simultaneously processed using custom made synthesis. His primary interest during this time was resonance, microtonality, electro-acoustics and granular synthesis. In 2008 Kamran put the traditional output of making albums on pause to create multi-channel sound and expanded cinema performances. During this period he was awarded an artist residency producing work using the Nam June Paik ‘Wobbulator’, worked for composer Morton Subotnick and became an active member of one the first galleries dedicated to multi-channel Sound Art, Diapason. |
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1:59:47 (Pop-up) | |||||
| Kaori Suzuki |
Air Born of Light
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Music for Modified Melodica |
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* | 2:24:25 (Pop-up) | |||||
| Alvvays |
The Pharmacist
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Blue Rev |
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2:51:28 (Pop-up) | ||||||
| Jay Som |
The Bus Song
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Everybody Works |
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2:52:45 (Pop-up) | ||||||
| John Ashbery |
What is Poetry?
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From Penn Sound | 2:56:31 (Pop-up) | |||||||
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Listener comments!
happymaan:
Paulo AD:
Paulo AD:
Jim the Poet:
happymaan:
happymaan:
happymaan:
Paulo AD:
LiXiviated Life:
happymaan:
Hi from Holland:
Jim the Poet:
David Cooper:
happymaan:
Jim the Poet:
David Cooper:
happymaan:
David Cooper:
Jim the Poet:
David Cooper:
Paulo AD:
happymaan:
happymaan:
Jim the Poet:
happymaan:
Jim the Poet:
David Cooper:
happymaan:
Jim the Poet:
David Cooper:
happymaan:
Jim the Poet:
Jim the Poet:
Jim the Poet:
David Cooper:
David Cooper:
Jim the Poet:
David Cooper:
Jim the Poet:
happymaan:
Jim the Poet:
David Cooper:
David Cooper:
David Cooper:
David Cooper:
Jim the Poet:
happymaan:
David Cooper:
Jim the Poet:
Fox:
David Cooper:
happymaan:
David Cooper:
Jim the Poet:
Jim the Poet:
David Cooper:
happymaan:
Ike:
Jim the Poet:
David Cooper:
Ike:
David Cooper:
David Cooper:
David Cooper:
Jim the Poet:
happymaan:
David Cooper:
happymaan:
David Cooper:
happymaan:
David Cooper:
happymaan:
happymaan:
David Cooper:
happymaan:
David Cooper:
Jim the Poet:
Fox:
Jim the Poet:
_Ike_:
Hi from Holland:
the serpent:
Hi from Holland:
Jim the Poet:
Heidee:
Sending German pixie dust over to Fox. 💫 (We do have some of those folks as well ya know, fairies, magical things etc.) Feel better soon, Fox!
I hated having a fever after those shots and when having Covid, so strength-draining. Best help with a fever, I find, are paracetamol and leg wraps:
tekdeeps.com...
happymaan:
_Ike_:
Fox:
happymaan:
happymaan:
Heidee:
northguineahills:
Hi from Holland:
Jim the Poet:
Playing with the highly resistive foot bellows introduced massive ‘volumes’ of air to the reeds, overblowing them to vibrate loudly. This aspect led me to work with the sound potentials of combination tones which appear at high acoustical volumes- an area which has been elemental, especially to my durational sound works, over recent years.
The pumped breaths of the melodica are amplified and brought through time delays, with electronically manipulated high frequencies and oscillators to further activate the mix. The resulting experience, as a performer, lends affinity to what a participant to the music previously called it—one which “rewards endurance with transcendence”.
MMM was performed and recorded live. Similar iterations have been performed in New York, Osaka, and Tokyo in various settings, and at least once in an abandoned naval magazine.
Intended for hi-volume listening!
Hi from Holland:
LiXiviated Life:
LiXiviated Life:
the lonely phillip:
the lonely phillip:
Will the Sound Guy:
LiXiviated Life: