Welcome to the 74th Touch Newsletter. Announcing Liquid Music, a new release from Christian Fennesz in collaboration with Jon Wozencroft (video), on a new format for Touch... This item appears as a Touch.30 USB stick, part of the ongoing archive release series during 2012.
Touch.30 live continues with April performances in London, Cologne and Karlsruhe. In performance: Oren Ambarchi, Daniel Menche, BJNilsen, Philip Jeck, Achim Mohné and the Ash International Soundsystem. Full details below.
Radio Boredcast is a 744-hour continuous online radio project - running from 1st March to 31st March 2012 - curated by artist Vicki Bennett (People Like Us) with AV Festival. On 16th March 2012 at 5:57am, Touch takes over Radio Boredcast for 30 hours of programmes curated by Mike Harding and Jon Wozencroft, as a celebration of Touch.30 - details below.
Finally, two new Touch Radio episodes are now broadcasting. Autodigest helps you to unlearn all languages in episode 75, while episode 76 demands you to "Listen!"
Touch.30 USB flash drive + title card in velvet string bag
Flash drive contents: .mov + text & images (2GB) - 32:30
Please specify whether you want a Mac or PC version of the USB stick in the TouchShop comments box when you place an order...
1. Liquid Music
This item appears as a Touch.30 USB stick, part of the ongoing archive release series during 2012...
Jon Wozencroft writes:
"Liquid Music was made in 2001, in conjunction with the music Christian Fennesz was developing during that fertile period when the future was still a good idea. The first version - this is it - was premiered during the Touch tour of 2001, the time of Fennesz's Endless Summer and the steady movement towards Venice.
The footage for Liquid Music originates from Prague, Paxos, Crete, Cephalonia, Messinia, London and one short clip from Monterey Bay. It was filmed on Hi-8 and mini-DV between 1995 and 2001. The main idea was to film everything through the lens, with no post production other than the compilation of many years work into a coherent whole. Fennesz's music, and its ascendent quality, made that a pleasure. The optical quality is on the cusp between analogue and digital resolution. In many respects it's an exchange of values as much as working methods.
I feel it's one of the best works we did in the last 10 years. The Brighton concert, where the audio comes from, was a key moment on the Touch 2001 tour. The PA was Loud. Everything worked. The film, as on all nights, was played in parallel, it is not sync'd in the conventional sense. Every time is was shown it was different. On this night, the second night of the tour, the audience was shocked in a way that shock rarely happens these days.
This very same year, industry experts got together in California to set the MPEG compression codes for DVD mastering. MPEG4 algorithms basically sample 3 frames out of the PAL 25 frames-per-second standard, and interpolate, which is OK if you're trying to get a drama onto a DVD, but hopeless if the film involves very fast movement and transitions. Liquid Music is in some respects a laptop response to the celluloid flicker film from the 1960s - Paul Sharits, Tony Conrad, Stan Brakage - Peter Kubelka's Arnulf Rainer. We tried everything Soho facilities houses had to offer but there was no way the film was going to master accurately onto the DVD format.
The movement of water is a difficult thing to film, and to sonify. For years the only way Liquid Music could be shown was either as a live projection or a dedicated screening - these have taken place at Tate Modern, the BFI, Austria, Hungary, Germany... Ten years later, the satisfactory outcome is to see what it looks like on an iPad or an iPhone, and then to imagine it on the big screen."
Thanks are due to: David Metcalfe, Kamal Ackarie, Steve Connolly, Andrew Lagowski, Philip Marshall and Denis Blackham.
See also: Callum Coats, Living Energies - An Exposition of Concepts Related to the Theories of Viktor Schauberger, Gateway, Dublin 1996.
Radio Boredcast is a 744-hour continuous online radio project - running from 1st March to 31st March 2012 - curated by artist Vicki Bennett (People Like Us) with AV Festival. In response to our ambiguous relationship with time - do we have too much or not enough? - Radio Boredcast celebrates the detail, complexity and depth of experience lost through our obsession with speed.
On 16th March 2012 at 5:57am, Touch takes over Radio Boredcast for 30 hours of programmes curated by Mike Harding and Jon Wozencroft, as a celebration of Touch.30. Many rare recordings are to be aired, including a number of Touch's earliest cassette releases in full. Jon Wozencroft presents "TouchRadio 1987" - a compilation prepared in 1987 for private distribution on cassette... In those days, mix tapes were a very common way of sharing one's own musical tastes on an informal basis. Half of this episode is presented here. Mike Harding also contributes three hour long "TouchAVRadio" transmissions, "Language", "Sound" and "Time", especially created for AVFestival.
In addition, many Touch artists are featured on other days of the month-long transmission, alongside shows submitted by Ash International and The Tapeworm. Special broadcasts from the likes of Chris Watson, Phill Niblock, Fennesz and BJNilsen are scheduled.
You can listen continuously for a month, or for hours, minutes or seconds. Online 24 hours each day, at www.avfestival.co.uk or www.thepixelpalace.org. The schedule for the whole month is listed here, with details of each show and information about the artists. You can also subscribe to the Radio Boredcast podcasts.
Café Oto, London, England 02.04.2012
An evening celebrating Touch's 30th anniversary and the release of Oren Ambarchi's striking new album Audience of One - a four-part suite which moves from throbbing minimalism to expansive song-craft to ecstatic free-rock. Ambarchi will perform alongside the unparalleled aural intensity of Daniel Menche and BJ Nilsen's layered sound environments.
The resurgence of vinyl in recent years is a phenomenon which has not gone unnoticed; as CD declines sharply, its audio limitations exposed not only by advances in other technologies, but also by the myths propagated at the inception of digital exposed, so artists explore and demand other formats to express their work. Although a business model is still some way off the traditional artist » label » distribution » shop paradigm, it is clear this is being radically overhauled and replaced by online sales platforms set up by the artists themselves. But vinyl seems to have escaped this process, and continues to grow. Why is that?
ZKM - Karlsruhe, Germany, 21.04.12
Studio 672 - Köln, Germany 23.04.12
14.02.12 - Unlearn All Languages in 15 Minutes - 15:00 - 192 kbps
Volume five in an ongoing series.
Self-assembled and reversed in February 2012.
Photography: Heitor Alvelos
Why not pay a humble tribute to the golden age of backmasking? Once upon a time, radio DJs would go up in flames accusing pop records of containing satanic messages woven backwards onto the groove. These would then supposedly make their way onto your teenage subconscious, and from its depths command you to do very bad things.
Echoes of the Altamont and Manson traumas aside, it was all a bit naive when compared to the magnitude of the very shady side of the entertainment industry nowadays, where worthwhile pop music once again becomes demonised: the recent, heavy policy proposals against online piracy, the terrorist-like shutdown of megaupload, the steamroller-like production-line of prime-time karaoke, the pervasive disgust of auto-tuning, the endless parade of cute iGadgets valiantly ignoring the abyss of over-consumption and worldwide economic meltdown.
Hubris, Icarus, Tower of Babel... Some say the future is once again in the local. Let's just forget all those un-local languages, then. Press play, unlearn them all, quickly and painlessly. Bliss.
Subscribe to the TouchPod podcast of TouchRadio via the iTunes Music Store
Play autodigest "Unlearn All Languages in 15 Minutes"
06.03.12 - Listen! - 14:08 - 192 kbps
Photo: Mike Harding
Recorded live at Passionskirche, Berlin @ Spire Live, closing CTM12
If you wish to unsubscribe from this newsletter, please send an email from the account to which you are subscribed to the Touch Newsletter, to firstname.lastname@example.org, and we will unsubscribe you straight away.
The previous Touch NewsLetter can be found here.