Speaking about Brian Eno (see previous post), on You Tube there is the whole Imaginary Landscapes, a film on Eno by Duncan Ward & Gabriella Cardazzo.
Imaginary Landscapes is a profile of a modern artist at the cutting edge of technological change and popular taste. It brings into an intensely personal focus Brain Eno’s seemingly disparate work in sound, vision and light, and explores his music in visual terms, based on landscapes and images that have shaped his life as an artist.
Paul Morley recently spoke to Brian Eno for a BBC arena documentary in which Eno proved that he is always good for a controversial and catchy phrase about the music industry:
The record age was just a blip. It was a bit like if you had a source of whale blubber in the 1840s and it could be used as fuel. Before gas came along, if you traded in whale blubber, you were the richest man on Earth. Then gas came along and you’d be stuck with your whale blubber. Sorry mate – history’s moving along. Recorded music equals whale blubber. Eventually, something else will replace it.
The whole interview is published on the Guardian’s site.
Il nostro elegante commander-in-chief è finito sul popolare Photoshop Disasters per una serie di immagini malamente e dilettantisticamente ritoccate tratte dal libro Noi amiamo Silvio edito da Peruzzo.
Nella fattispecie si vede una foto in cui pezzi di folla sono stati chiaramente duplicati al fine di far apparire più gente intenta ad osannare il nostro. Anche il mazzo di fiori è disegnato gran male. In realtà è probabile che questa immagine sia il montaggio di tre foto: Berlusconi, la folla, piazza Duomo. Il fatto che la menzogna sia utilizzata come normale strumento di propaganda dovrebbe far pensare.
Il commento di Photoshop Disasters:
Oh Silvio. I have no problem with your mafia connections, your masonic lodge business, the tax fraud, the false accounting, the bribing of judges, embezzlement, seducing young girls, etc. We all do that kind of thing. But when you start pumping up your crowds with Photoshop you cross the line, mister.
The sound of Akashic Crow’s Nest begins with the use of an image synthesizer which turns very long photographic images into audio output, in the manner of a piano roll. The initial part of composing this music is thus designing the picture. For this latest project, the first audio output is converted to midi and run through a different softsynth, before being subjected to a battery of effects to get to the sounds you hear on this album.
Download from Webbed Hand Records
Excerpt:
The English netlabel INTERLACE devotes to concerts featuring free improvisation, live electronic music, interactive composition, and, of course, a mixture of it all. It is a continuous series of concerts aiming at 3 or 4 times per year.
Excerpts from the Interlace archives: three improvisations from the concert dated 18 July 2009
An EP collaboration of two Siberian artists – Виктор Iванiв (Victor Ivaniv) is a futurist poet from Novosibirsk. Muhmood is Alexei Biryukoff’s one man project from Barnaul, experimenting with ambient soundscapes, noises, field recordings and heavy guitar music. They met in November 2007 when Victor came to Barnaul with a presentation of his book “A Glass Man and the Green Record”. At that time they decided to try to do 2 or 3 tracks to see what would come out. By June 2009 the four tracks EP is done. They continue to work on a long playing album that will include Victor’s poems and prose.
Published in 2008 by Enough Records
Excerpt:
Download from ftp.scene.org 
Download from archive.org
Download from last.fm
A Million Billion is Ryan Smith based out of Queens, NYC. ‘Cavity Care’ is a collection of compositions that Ryan wrote in collaboration with several choreographers over the last 6 years.
These works are distinctively experimental in nature (especially the first four pieces), but also extremely dramatic and cinematographic in tone, and as a result most of the time they transport us to movie-like settings and places.
Download from Test Tube.
Excerpts:
I like the rhythmic feeling of this work. Rhythm is the main stream around which all the sound moves. Rich rhythmic patterns that derivate from dub, hip hop, techno and other urban languages, but instead of driving us straight to the physical emotion center, they drive us to the ‘braindance’ center.
Craque is Matt Cooke-Davis. Download the whole album from Test Tube. Other works on Stadtgruen, Kahvi Collective and Kikapu.
Excerpts:
Umbrellas in the Rain is the alias of an austrian musician from Vienna, and ‘Wieder Daheim’ – german for ‘Home Again’ – his first effort at creating something mature enough worth listening to (and worth releasing, for that matter…). Well, he did it, and with flying colours. ‘Wieder Daheim’ is a delicate collection of abstract songs that really grab one’s heart. They are experimental enough to wander in, but also emotional enough – to the point of being nostalgic – to keep us down to earth.
We can also find enough drones to keep us occupied and plenty of found sounds of everyday objects to let us dream away. The songs are filled with a lot of different instruments too, among guitars, keyboards and xylophones.
Download from Test Tube.
Excerpt:
Tom Johnson is really a minimalist composer; in fact, he coined the term while serving as the new music critic for the Village Voice.
He works with simple forms, limited scales, and generally reduced materials, but he proceeds in a more logical way than most minimalists, often using formulas, permutations, predictable sequences and various mathematical models.
The Four Note Opera (1972) is a work written using four notes only (D, E, A, B). It is scored for 5 singers and a piano (no orchestra) and the singers play the role of singers in a way similar to Pirandello’s Six Characters In Search of an Author:
The only sure thing is that the crucial moment in the evolution of the piece was that evening very long ago when I read, with great excitement, Luigi Pirandello’s Six Characters In Search of an Author. Normally characters are not even conscious of their existence on a stage. They are completely obedient to the author, they conform totally to the world the author creates, and they have no thoughts of their own. But Pirandello’s masterpiece was different. His characters knew they existed in a theatrical space, and only for a couple of hours. They were aware of the audience, and of the author as well. It was not the kind of theatre that asks you to believe something that is not true. It was the kind of theatre that you have to believe, because everything is true.
Pirandello’s vision had a strong impact on me, and for years one question lingered in the back of my mind: what would happen if, instead of Six Characters in Search of an Author, there happened to be some opera characters looking for a composer? It happened that some opera characters were looking for a composer, and about 10 years after reading Pirandello they found me and came to life in The Four Note Opera.
[Tom Johnson]
Here are some excerpts in french and italian:
and the whole