hc.
Mittlerweile ist die Veröffentlichung meines frischen Beitrages zur headphone commute Podcast Serie bereits zwei Wochen vergangen. Nichtsdestotrotz folgt nun an dieser Stelle die Präsentation der wichtigsten Fakten:
Zweieinhalb Stunden Musik, in dieser Ausgabe so stoisch und gesetzt wie nie zuvor. Danke Mike, einmal mehr.
wie angekündigt; die möglichkeit zur nachhörung über die mixwolke. danke nts.
www.nts.live/william-basinski-31st-may-2018
Tracklist
Alva Noto
Uni Sub
Pinkcourtesyphone
Romantic Threat
France Jobin
24-45
Yann Novak
The Future Is A Forward Escape Into The Past
Jim O’rourke
Steamroom 40
Harry Bertoia
For Reuse
Lawrence English
Hard Rain
Balmorhea
Lost In Translation (William Basinski)
boston.
„Above ground, it was just another day in Boston, circa 2018, as office workers hurried into Dunkin’ Donuts and lined up outside a food truck slinging Asian noodle soups and spicy beef sandwiches on City Hall Plaza. But just 25 feet below the plaza, it looked a lot like 1963, when John F. Kennedy was in the White House and the Beach Boys ruled the pop charts with a hot new single called “Surfin’ USA.”
There, like an underground time capsule, sits an abandoned subway tunnel, remarkably well preserved from the last time trains rumbled through it. Opened in 1898, the tunnel was once part of America’s first subway line, connecting Scollay Square Station, which is now Government Center, to Adams Square Station, on the edge of City Hall.
basinski.
„Put it in your diaries – William Basinski goes live on NTS, Thursday 31st May
Tune in from noon until 1pm UK time.
rausch.
„Wolfgang Voigt’s music as Gas is about nostalgia and childhood, based on his memories of wandering the forests around Cologne. Built around a deep, steady thrum and orchestral samples, the music has a soft, cocooned feel to it, as if enclosed by coniferous trees and mossy ground. When Voigt revived the project with last year’s Narkopop, the idea was the same, but the delivery was different: the music felt darker, and some fencing could be seen on the cover’s otherwise natural landscape. It was meant to show, perhaps, man beginning to impose on the sanctity of the forest. The album reflected a kind of lost innocence. Though Rausch’s cover features no such intrusions, the music has a new, rumbling sort of dread to it. Across the hour-long LP, split into seven seamless movements, Voigt introduces dissonance and anxiety into a world that once seemed welcoming. „
Rausch erschien am 17. Mai. Ob ich das Album bis heute gehört habe? Wahrscheinlich nicht, folgt aber ganz sicher.
