Electronic Frequencies

00:00 – 00:38 Jingle
00:00 – 18:05 Oren Ambarchi And Robbie Avenaim: Clockwork.
18:05 – 21:53 Glissando Bin Laden: Drone Level Orange.
21:53 – 37:33 Alain Savouret: L’arbre et caetera.
37:33 – 41:34 Ilya Ziblat & Roberto Garreton: Debris.
41:34 – 50:02 So Oishi: Colour Composition 2.
50:02 – 59:54 Kees Tazelaar: Berglandschap.

Since many years I run a radio program on The Hague’s independent radio Tonka and quite often I select some tracks which I haven’t listened to before to surprise myself and discover something new. This results in a bit eclectic collection of tracks as can be found in this program.

The collaboration of Oren Ambarchi and percussionist Robbie Avenaim I discovered a long time ago on a ’14 tracks’ collection around Gamelan inspired music. It is a live recording from 21.4.1999 and it displays a great way to merge electronics and live percussion.

Next we jump ten years ahead to the year 2009. Glissando Bin Laden are Jim Altieri (violin), Caroline Mallone (violin), Meighan Stoops (bass clarinet), Alex Ness (laptop / vocals), Sam Pluta (laptop), Chris Ariza (mastering). As the title suggests they bring us a full bodied drone which feels as it has made a tour around the eastern hemisphere.

Back in the year 1972 the French composer Alain Savouret created the electro acoustic piece L’arbre et caetera at the GRM studios. Even 40 years later this piece has some freshness, although one can hear some old fashioned production methods.

For the next piece we travel in space and time to The Hague in the year 2016 (?) where Ilya Ziblat & Roberto Garreton got together to improvise on a fusion of double bass, guitar and electronics.

The piece Colour Composition 2 by So Oishi brings us back into synthesised textures and colourful drones.

The program concludes with a more recent piece Berglandschap by Kees Tazelaar. This piece has evolved from a contribution called Funktion Berg to the AC Jukebox project, a collection of short works to celebrate Paul Berg’s contributions and dedication to Institute of Sonology. Kees says: “Funktion Berg consists of purely synthetic initial sound material and its transformations, whereby tendency masks controlled the random selection of parameter values at each subsequent step of the production. Immediately after completing “Funktion Berg” I continued to process its sound material further, now using analogue as well as digital techniques.
The result is “Berglandschap” (Mountain scenery).
In this piece a classical Sonologist’s approach shines through: multiple manipulations of limited material.