Showy McShowface with Jim the Poet:
Playlist
from August 23, 2023
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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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August 23, 2023: "Jim the Poet fills in for Radio Futura with DJ Pedro Fumero"
田中晴美さん、どこにいるの？
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| Artist | Track | Album | Label | Comments | Images | Approx. start time |
|---|---|---|---|---|---|---|
| Jimmy Dawkins |
It Serves Me Right to Suffer
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Fast Fingers | Delmark Records |
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0:00:00 (Pop-up) | |
| Tuluum Shimmering |
Tamalpais (At About 6)
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Tamalpais (At About 6) |
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0:04:14 (Pop-up) | ||
| Nick Bates |
Passing Moments (excerpt)
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Passing Moments | S/R | This is a recording of an installation-esque sound art piece I created when I was in grad school. The name has gone through a couple of phases, from the awful "The Current Now" to the much better "Passing Moments". This is a Bandcamp-only release since this isn't really supposed to be recorded music like my numerous other projects. If anything, this recording shows that this piece existed at some point in time, even if I don't manage to get it installed anywhere. The idea was to create an ever-changing soundscape that changed, well, very slowly. I was inspired by a quote when finding sources for my master's thesis project. From the Prologue of Void Front Press's "Sustain // Decay", the quote reads, "All genres (all life, all differentiation) can be imagined as mere clusters of patterns of iterations of momentary deviations from the drone." I simplified it a little bit, though. Here, the sudden noise from bells or guitars are the momentary deviations from the sine waves they sit on. The sine waves are constantly changing, too. The max patch that drives the piece randomly selects a number of the sixteen voices to start changing frequency over a predetermined amount of time (usually upwards of 20-30 minutes). The effect is that you get very slowly changing intervals which provide context for the randomly selected pitches of bells, guitar, and piano strikes. Everything is tuned to the harmonic series, with A = 55Hz as the fundamental. An additional layer of change has the sounds steadily circle around eight speakers setup around the perimeter of a room, with the sudden sounds jumping randomly around those speakers. The stereo recording is vastly inferior to actually being in the space, but headphones do a fair job at faking it. This piece, if given the proper setup, could continue forever and you would never hear the same thing twice. And, even if it did repeat, would you remember what was repeated? While listening to this, ask yourself, why worry about what you missed when what comes next could be more interesting? As always, please enjoy. credits released August 18, 2023 |
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0:36:16 (Pop-up) |
| Fuji-Yuki |
Scene 1
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One Butoh | Akuphone | Akuphone is proud to present Fuji-Yuki’s latest masterpiece, "One Butoh". A musical immersion into the most exciting avant-garde dance style of the past century. Created in Japan in the 1960s by Tatsumi Hijikata, butō is the "dance of the obscure body". It broke with the traditions of classical Noh and Kabuki Theater, which, at the time, seemed outdated in the national context. Nourished by a European artistic avant-garde, butō stands out as a mirror of the socio-political turmoil of a post-World War II Japan. One Butoh resonates as a perfect acoustic introduction to this subversive art and propels the listener deep into his own soul. Fuji-Yuki is a Japanese vocalist who uses her voice like an instrument. With special vocal techniques, glossolalia and electronic pedals, she creates a wide variety of sounds. Inspired by the spirits of Buddhism and Shintoism, she creatively transforms her vocals into an ambient drone or prayers resonating in a church-like space. Her live performances are always different, depending on the place and space they take place in. She is also known as the vocalist of the experimental band Sarry. credits released October 12, 2022 * FUJI-YUKI: voice oriental ritual implements * Performed and Composed by FUJI-YUKI * Produced by 821 and FUJI-YUKI * Recorded and mastered at LM Studio Osaka & Studio Dew9 * Mixed & arranged by 821 * Calligraphy by FUJI-YUKI * Photos by Sachio Hata © 2022 FUJI-YUKI ℗ 2022 Akuphone |
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1:30:28 (Pop-up) |
| Fuji-Yuki |
Scene 2
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One Butoh | Akuphone |
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1:49:00 (Pop-up) | |
| Louise Bock |
Horologic
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Winter VII - Abyss: For Cello | **The seventh installment in Geographic North’s long-running Sketch for Winter series, which highlights compositions intentionally crafted for the colder season.** Louise Bock is the nom de guerre of Taralie Peterson, a venerable veteran of the American avant-garde. Whether solo or together with Ka Baird as Spires that in the Sunset Rise, Peterson has spent nearly two decades exploring the outermost limits of ecstatic, free jazz-influenced improvisation. The sonic range of Peterson’s opulent oeuvre is matched only by the variety of instruments she employed, including but not limited to voice, saxophone, clarinet, guitar, banjo, lap harps, mbira, spike fiddle, and so on. Now, under the sobriquet Louise Bock and focusing solely on the cello, Peterson returns with Abyss: For Cello, a profound work of considered minimalism composed during and intended for the dead of winter. Deciding to focus entirely on the cello, Peterson rid herself of any other self-imposed rules, analysis, and judgment that ultimately unlocked unforeseen revelations. Opener “Horologic” offers a sustained seethe of heaving, serrated textures. “Jute” offers a dynamic run of striated tones that slowly dissolve into a pool of peaceful resolve. “Actinic Ray” brings a kaleidoscopic blur that offsets heaving lurches of chordal sound with almost acrobatic flecks of melody. “Oolite,” featuring Kendra Amalie on guitar, is an engrossingly unsettling piece of auditory hysteria, balancing a fascinating and fine line between allure and aversion. Closing track “Prithee” prolongs a potent interplay of deep, dense resonance and exquisitely elegant static. Through these ruminations, Peterson’s cello exposes immense beauty, sorrow, and joy that is altogether deeply hypnotic and discreetly haunting. |
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1:55:32 (Pop-up) | |
| Midori Takada |
KI-KI-KI
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MSCTY x V&A Dundee (feat. Midori Takada & SHHE) | MSCTY_EDN | Legendary Japanese Ambient pioneer Takada was specially commissioned by MSCTY and one of UK's leading art institutions, V&A Dundee, to create a soundtrack to the museum itself. Sympathetic to the architect Kengo Kuma's use of natural materials in the landmark building's construction, Takada bases the compositions around huge wood marimbas, creating atmospheric, hypnotic beauty inspired directly by Kuma's organic vision. This album contains the complete works, constituting 3 connected compositions. Midori Takada plays a special live show at Kings Place, London in September, the month of the album's physical release. Her recently reissued 1983 work 'Through the Looking Glass' was hailed as "mesmerising" and an "ambient minimalist masterpiece" by Pitchfork who awarded it their best reissue of 2017. |
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2:04:10 (Pop-up) |
| Ed Jones / Dominic Lash / Mark Wastell |
Meditating with the Father, Son, and Holy Ghost
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Meditating with the Father, Son, and Holy Ghost | Confront Recordings | "An epic of a single track, not far short of 19 minutes long, acting as an interpretation of the opening 'The Father and the Son and the Holy Ghost' from John Coltrane's Meditations. Saxophonist Ed Jones is incredibly tender when he first enters the fray patiently tended to by both bassist Dominic Lash and Confront Records' guiding light drummer/percussionist Mark Wastell. You enter a certain faraway space listening to this - there is such openness and potential. The sound could go anywhere. And yet all three exert a tight grip on the taut energy at the core of the piece as cog to a mighty wheel of Coltranian enlightenment that they develop so convincingly." (Marlbank) "An interpretation of the opening track from Coltrane's Meditations, it's a bold reimagining, replacing the originals dense, ecstatic churn with a slowly unfolding improvisation full of space and graceful hesitance. Wastell coaxes gentle shimmers from gongs while Lash suggests a loose framework of scattered plucks before Jones enters tentatively, switching between tenor and soprano to deliver cramped, gnomic comments.' (Dan Spicer, The Wire) |
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2:18:05 (Pop-up) |
| Jimmy Virani & Raphaël Maze |
HOURVARI
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HOURVARI | Sun in yr head Records K7 | HOURVARI Duo Theremin Noise & film souterrain Live@ZAOUM 2022 |
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2:36:49 (Pop-up) |
| Jimmy Virani & Raphaël Maze |
HOURVARI
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HOURVARI | Sun in yr head Records K7 | 2:49:35 (Pop-up) | ||
| Howlin' Wolf |
Riding in the Moonlight
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Moanin' at Midnight: The Memphis Recordings | Fuel 2000 | 2:56:29 (Pop-up) |
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Listener comments!
northguineahills:
northguineahills:
Ken From Hyde Park:
Robm:
Bill K:
pot8o:
goodnight everyone!
northguineahills:
northguineahills:
cbunny:
Erik (VT):
The bells tones are pitched at the same sound as our wind indicating porch bells. So I keep Pavlovian that winds were picking up.
𝗶k𝗲:
slugluv1313:
greetings, Jim! Everyone!
btw -- i ordered Amplify the Purrrsitive 🐈🐈⬛
(but passing on the two dudes choking each other)
Jim the Poet:
𝗶k𝗲:
slugluv1313:
𝗶k𝗲:
slugluv1313:
Jim the Poet:
slugluv1313:
more for the bandcamp wishlist
slugluv1313:
Hubig Pie:
Jim the Poet:
Hubig Pie:
rw:
A Ben Camel:
𝗶k𝗲:
Paulo AD:
Hands up if you're hungover as fuxk
Jim the Poet:
Paulo AD:
𝗶k𝗲:
slugluv1313: