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3. Ululatore (Hooter) - Various - Musica Futurista: The Art Of Noises (CD)

20.01.2022

At all events, they show an earnest desire not to have it at present. According to Marinetti, thirteen of their number were killed, and forty-one wounded. Luigi Russolo, the creator of noise spirals and the intonarumori, suffered a serious head wound at Monte Grappa in which required cranial surgery and a year of recuperation. In June Russolo and his younger brother Antonio staged a performance at the Theatre des Champs Elysees in Paris, from which a hostile Dada faction lead by Tristan Tzara were forcibly ejected.

Marinetti asked indulgence for Russolo, who had been wounded in the war and had undergone a serious operation on his skull. This moved the Dadaists to demonstrate violently how little impressed they were by a reference to the war.

In Paris Russolo tried to demonstrate how intonarumori might work as part of a conventional orchestra, and possibly performed the Corale and Serenata subsequently recorded by his brother in Later innovations included a noise harmonium rumorarmonio and an enharmonic bow, while Russolo also provided live soundtracks to several avant garde films at Studio However the advent of talking pictures closed this avenue, and Russolo performed in public for the last time in Tasting poverty and disappointment, he abandoned Futurism in favour of mysticism, supernature and the occult, publishing a book called Beyond the Material World in and passing away on 4 February Unique collection of original sound recordings made by key figures from both 20th Century avant garde art movements.

Three years in the making, and with over one hour of playing time, the CD features sound collages, tone poems, interviews and music made between and by 3. Ululatore (Hooter) - Various - Musica Futurista: The Art Of Noises (CD) such as: F. Marinetti was born in Alexandria in and educated in France, where he commenced his literary career. After gaining some success as a poet, he founded the journal Poesiafrom which the theories of Futurism soon evolved.

With his first Futurist manifesto Fondazione e Manifesto del Futurismo inMarinetti launched the first significant 20th century avant-garde art movement, which interpreted modern developments in science and industry as signalling a new era, which in turn demanded novel and innovative art forms and language.

Marinetti energetically promoted his own work, and that of his Futurist cohorts, through numerous manifestos, speeches, essays, meetings, performances and publications. Until his death inhe strove to reconcile the theories of Futurism with the ideology of Fascism, a path which has served to taint his reputation ever since.

Along with Francesco Balilla Pratella, Luigi Russolo was the true father of Futurist music, and his intonarumori noise intoners decades ahead of their time. Antonio Russolo was the younger brother of Luigi, and also worked on the construction of the intonarumori along with Ugo Piatti. Both are lesser works, being little more than the application of the noise intoners over conventional and insignificant compositions. However, they stand today as the only surviving aural document of the original intonarumori, and the practice of matching the intoners against conventional gramophone recordings was demonstrated as early as June by Luigi Russolo in London.

Little is known about the life and career of Luigi Grandi, although it is thought that he may have known Pratella. Piano performance by Daniele Lombardi recorded in Painter, poet, novelist, satirist, critic and self-styled Enemy. Together with an antagonistic group that included Ezra Pound, David Bomberg, Edward Wadsworth and Jacob Epstein, Lewis created the first modern British art movement, Vorticism, which owed much to Cubism and Futurism, but declared itself independent from both.

The first Vorticist manifesto appeared inwhile Lewis also edited their in-house journal, Blast. Wyndham Lewis. Born in Rome and educated in France, Apollinaire published his first writings under that name in the Revue Blanche of As well as novels and poetry he published much influential art criticism, and was one of the first the champion the Cubist movement.

In the Mona Lisa was stolen from the Louvre by a former associate, and Apollinaire found himself arrested for complicity. Although he was soon cleared, the scandal left its mark. His verse collections Alcools and Calligrammes established his as the leading French poet of his day. In he followed Ball to Zurich, and began performing at the anarchic literary nightclub Cabaret Voltaire.

His nostrils vibrate, his eyebrows are arched. More aggressive and directly political than its Zurich forebear, Berlin Dada issued numerous proclamations and manifestoes, and embraced visual art techniques such as photomontage, constructed objects and typography.

In he published an autobiography, Memoirs of a Dada Drummer. A Romanian painter and engraver, who became acquainted with Tzara inand met him again while studying architecture in Zurich. Janco also became involved with the Cabaret Voltaire, for which he created woodcuts, scenery, posters, costumes and masks.

Born near Blainville, France, Duchamp ranks as one of the most influential artists of the 20th century. Denounced as imitative by Huelsenbeck, Schwitters was excluded from Club Dada, not least because his verse collection An Anna Blume became a surprise commercial success.

Schwitters remained close to Hausmann, however, and on hearing his sound poem fmsbw in recognised the potential of this new form of expression.

The resulting Die Sonata in Urlauten grew in size and scope over the years, this final version being recorded by Schwitters on 5 May This recording appears courtesy of his son Ernst Schwitters, and Cosmopress Geneva. Immortal French poet, artist, director and auteur, Cocteau was born in Maisons-Lafitte and in Paris swiftly became a figure of enduring influence in the avant-garde.

Primarily a poet, Cocteau regarded all his work — film, theatre, prose, sketches, criticism — as extensions of his chosen medium of poetry. These charming and playful recordings were made on 12 Marchwith musical backing provided by the Dan Parrish Jazz Orchestra. Posted by RB at PM 0 comments. Death in Vegas - Scorpio Rising []. Posted by RB at PM 4 comments. Posted by RB at PM 1 comments. The Beatles — Abbey road A []. Posted by RB at PM 2 comments.

Newer Posts Older Posts Home. Subscribe to: Posts Atom. If you would like a link removing for any reason let us know and we will remove it as soon as we receive the request. Please support the bands by buying the cd, vinyl, tape, tshirts and going to the gigs, this cannot be stressed enough.

Search in this Blog. EM Loading Pratella had drawn from earlier essays by Ferruccio Busoni and Domenico Alaleona, and his text was somewhat provincial. Between Paris, Vienna and Berlin radical new music was being produced by composers such as Ravel, Satie, Bartok, Stravinsky lately arrived in France with Diaghilev and the Schoenberg school.

For all his talk of liberation and Futurism, Pratella had identified Debussy alone. Both promoted free or irregular rhythms, enharmonic music, atonality, polyphony and micro-tones.

Pratella later collected all three Manifestos in a single volume, which also contained a piano score for his own composition, Futurist Music for Orchestra. Although it bore little trace of atonality, the piece still caused a stir when first performed at the Teatro Costanzi in Rome in 21 Februarywhere amidst predictable uproar from the audience, the composer himself appeared no less bewildered.

According to the poet Francesco CangiulloPratella rushed from the stage in panic, complaining to Marinetti that half the orchestra had disappeared. On his return several minutes later, the remaining musicians informed him that the piece had already ended.

If Pratella failed to apply these theories to his own music, his proposals would have a profound effect within the Futurist movement. I am a Futurist painter who projects beyond himself, into an art much-loved and studied, his desire to renew everything. Thus, bolder than a professional musician, unconcerned by my apparent incompetence, and convinced that my audacity opens up all rights and all possibilities, I am able to divine the great renewal of music by means of the Art of Noises.

We will delight in distinguishing the eddying of water, of air and gas in metal pipes, the muttering of motors that breathe and pulse with an indisputable animality, the throbbing of valves, the bustle of pistons, the shrieks of mechanical saws, the jolting of trams on the tracks, the cracking of whips, the flapping of awnings and flags.

We will amuse ourselves by orchestrating together in our imagination the din of rolling shop shutters, slamming doors, the varied hubbub of train stations, iron works, thread mills, printing presses, electrical plants and 3. Ululatore (Hooter) - Various - Musica Futurista: The Art Of Noises (CD). To this end Luigi Russolo began to construct so-called noise generators intonarumori in his Milan laboratory, where he was assisted by another likeminded painter, Ugo Piatti.

The intoners were essentially crude synthesisers, intended to reproduce a variety of modern noises, and able to regulate their harmony, pitch and rhythm. The instruments contained various motors and mechanisms operated by means of a protruding handle, while pitch was varied with a lever and a sliding scale.

Russolo identified six families of noise, grouped as: 1 thunder, explosions; 2 whistles, hissing; 3 whispers, gurgles; 4 sobs, creakings; 5 beaten metal and wood; 6 howls, shouts and screams both animal and human.

The Art of Noises was quoted and discussed in a variety of journals and newspapers across Europe, but mocked more often than not. The first intonarumori demonstration came on 2 June at the Teatro Storchi in Modena, when Russolo unveiled an exploder scoppiatore which aimed to reproduce the sound of an internal combustion engine with a range of ten notes. In fact din seems an unlikely descriptive term, since Russolo was too early to profit from electrical amplification, and instead relied on large megaphones to project his noises — an unsatisfactory arrangement which may in part explain why most of his early public performances may be objectively judged as heroic failures.

It is enough to say that a single stretched diaphragm placed in the right position gives, when its tension is varied, a scale of more than ten tones, complete with all the passages of semi-tones, quarter-tones and even all the tiniest fractions of tones. The preparation of the material for these diaphragms is carried out with special chemical baths, and varies according to the timbre of noise required.

By varying the way in which the diaphragm itself is moved, further types and timbres of noise can be obtained while retaining the possibility of varying the tone. Thus prepared, Russolo gave a salon demonstration of this new music at the house of Marinetti, attended by assorted fellow Futurists Pratella included as well as Igor Stravinsky, Sergei Diaghilev and Leonide Massine. Stravinsky, it seems, had already expressed interest 3.

Ululatore (Hooter) - Various - Musica Futurista: The Art Of Noises (CD) incorporating a noise intoner in one of his ballets. In his memoir Le serate futuristeFrancesco Cangiullo recalled the evening in picturesque fashion:.

But he was dragged to the piano and forced to play and sing his music with a mouth that would rather have opened to a good bowl of fish soup. Somehow or other the piece was finished, and Russolo approached one of the eight or nine noise intoners. A crackler crackled and set up a thousand sparks like a gloomy torrent. Stravinsky leapt from the divan like an exploding bedspring, with a whistle of overjoyed excitement.

At the same time a rustler rustled like silk skirts, or like new leaves in April. The frenetic composer hurled himself on the piano in an attempt to find that prodigious onomatopoetic sound, but in vain did his avid fingers explore all the semi-tones.

By moving his legs the dancer was trying to say that the strange symphony was danceable, while Marinetti, happier than ever, ordered tea, cakes and liqueurs. Boccioni whispered to Carra that the guests were won over. The only person who remained unmoved was Russolo himself. He tweaked his goatee beard and said that there was a lot to modify: he hated praise.

Art rehearses you for uncertainty". Roxy's early music was originally forged in this spirit. But success placed them in a position "where that uncertainty had to go", as did their "insanity Eno left in order to lose himself again in unmapped territory. He hit upon "a whole series of tricks and subterfuges that I use to create an accidental situation I'm looking to reduce my conscious intervention and get the intuitive parts of me going".

Eno's strategies included chance the use of a pack of card with musical ideas written on the back and contingency found sound, tape delay techniques etc. Another Green World originates from a strange period in rock history when Eno could call on the talents 3.

Ululatore (Hooter) - Various - Musica Futurista: The Art Of Noises (CD) both John Cale and Phil Collins without it seeming incongruous. It's a collection of musical sketches: sometimes exquisite watercolours, sometimes lamentably Python-esque skits. But for each of these succint, spare studies, there's a terribly dated item of English eccentricity, with the Eno persona pitched somewhere between Cat Stevens and Bill Nelson.

Elsewhere on the album, "The Big Ship" is a prototype for the second side of Low ; "Sombre Reptiles" sounds like dying rock dinosaurs languishing in their own equivalent of the elephant's graveyard, while the title track you'll already know and love as that most restful theme tune for BBC2's Arena. Before And After Science was one of Eno's most feted albums, and one of the ones he personally rated least. Listening now, one can only agree with his verdict. It's a curiously muted, indistinct record; an oddly centre-less music, teeming with beautiful detail guitar filigrees as graceful as Japanese calligraphy, mysterious sounds shimmering in the furthest corners of the mixbut unhappily placed midway between dispersal and focus.

As with Another Green Worldevery so often there's a pretty sound-painting like "Energy Fools The Magician", but in the main tracks like "King's Lead Hat" fall within the manageable orbit of Anglo eccentricity. At the time Eno was fond of patronising forgettable curios like the Portsmouth Sinfonetta. Only later was Eno to go out-of-orbit, into truly dis-orientating territory. So funnily enough, by far the most absorbing and simply beautiful music in this box set is Apolloa collection of "atmospheres and soundtracks" for Al Reinhert's film of the moon landings - an album disregarded in its day as just another in Eno's ambient series.

With his forays into ambience, Eno went from meta-rock which relies on the listener being thoroughly schooled in rock history, in order to understand the mischievous mis-appropriation of that history to infra-rock. The impressionism of the early solo albums gives way to a total atomisation of sound.

Eno compared ambience with Monet's "Waterlilies": huge canvases but without "any predominant features Close up, the intricacy is amazing. You have to wander through them. I can gaze at them for hours and never get bored". Eno's ideas about ambient music have an affinity with that currently fashionable area in modern science called "chaos theory", which focuses on phenomena that are structured but impossible to predict cloud patterns, the crystalline structure of snowflakes, the movements of fluidsand whose infinite variability is captivating.

Ambient music's paradoxes it's both serene and 3. Ululatore (Hooter) - Various - Musica Futurista: The Art Of Noises (CD), intimate and impersonal, sedative and utterly absorbing satisfied the demand Eno had always made of pop: blissful bafflement. Apollo attempts to supplant the official version of space travel another giant step in man's mastery of the cosmos and rewrite it as an experience of estrangement, humility and awe. The sound of "Apollo" consists of twinkling clusters, remote susurrations and rumblings, an infinite recession of motes into the backwaters of the galaxy.

This stuff has dated very badly indeed. Larks' Tongues In Aspic is more bearable, the title track leapfrogging between Oriental reveries and art school Sabbath heaviosity. Disciplinewith execrable vocalist Peter Sinfield long since banished in favour of Adrian Belew, is almost listenable.

It doesn't sound nearly as redundant now as it must have done in ' Apolloconversely, I find "nice", but never play. King Crimson, also, I've come to appreciate if not quite adore. Saturday, August 15, Hungarocarrot festival. Friday, August 7, butthole surfers live. Sunday, July 26, this heat. This Heat This Heat. All channels open.

But the third plank of that mini-manifesto marked This Heat as true contemporaries of Scritti Politti and The Pop Group, its totally-wired tone of paranoid vigilance tapping into the atmosphere of tension and dread that suffused the late Seventies. More postpunk DIY-noisy in spirit and sound are the contributions of Gareth Williams, a non-musican who supplied jarring blurts and abstract smears using broken-down instruments, effects-pedals, and a primitive form of sampling involving tape loops.

Thursday, July 23, futuredada. LTM emusic by Simon Reynolds. This compilation is a time capsule from early Twentieth Century Europe, when the continent swarmed with -isms: not just famous ones such as Cubism and Constructivism, but nutty lesser-knowns like the Nunists and Rayonists too. Although they differed on the precise details, these manifesto-brandishing movements typically called for an utter overhaul of established ideas of art, arguing that Western Civilisation, enervated and sagging into decadence, needed an invigorating injection of barbarian iconoclasm to renew itself.

The Dadaist material, however, retains a good portion of its originally scandalous shock of the new. Huelsenbeck also contributes a great reminiscence of the genesis of Dada, incongruously backed with a Indian raga drone. Various Artists. Musica Futurista: The Art of Noises.

As their name suggests, the Italian Futurists worshipped technology and urban life, while stridently despising the romanticisation of the pastoral and the pre-industrial past. Music was not left unscathed. When the Futurists relied on conventional instruments, their efforts suffered from being, well, not futuristic enough, such that you can you can see why Russolo went to the bother of building the Intonarumori. Apart from the Intonarumori offerings, the best tracks come from the non-musician Marinetti.

Bravo, F. Saturday, July 18, Pixies live Pixies, Brixton Academy, London The Observer, June 30th, by Simon Reynolds After four years and four albums, the Boston-based Pixies have an unrivalled reputation as purveyors of rock 'n' roll at its most untamed.

By 's Doolittle LP, you could go to a Pixies gig and be sure to see members of the audience stripped to the waist and flailing their limbs dementedly. But this bestial delirium was the proper response to songs such as 'Debaser' and 'I Bleed', whose lyrics both revelled in and recoiled from the ecstasy and horror of carnal existence. Last year's Bossanova LP aroused suspicions that Pixies were mellowing: its plangent melodies and intricate harmonies suggested that their patron saint was no longer Iggy Pop but Brian Wilson.

But with their most recent single, 'Planet of Sound', the Pixies have returned to the grunge that won them their huge cult following. And the rumour is that their forthcoming album, Trompe Le Monde, marks a move towards heavy metal, in a bid to conquer the MTV heartland of America.

At Brixton Academy Pixies look as if they are limbering up for a future of playing stadiums. Their show has shed the last vestiges of their garage band origins and is now a formidable spectacle.

While the band stay virtually motionless throughout, they're framed by a fantastic light show and play in front of a surreal installation of translucent towers. And — in a cute allusion to the heavy metal rumours — a line of Marshall amplifiers stretches, across the stage behind them, against which is propped an armory of guitars.

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