Great recordings from the seven corners of the internet carefully selected by the Sistemi Audiofobici Burp staff.


15 gems suggested by Mat Pogo for your listening pleasure

Deaf Lions

via Die or D.I.Y.


Captain Beefheart & His Magic Band
An Ashtray Heart: Toronto Broadcast 1981

via Exystence


Live In Chicago

via The Static Fanatic


Sun-Ra and his Astro Infinity Arkestra
Strange Strings 

via spookcityusa


Frank Hunter and His Orchestra
White Goddess

via Flash Trap 


Der Plan
Die Letzte Rache

via  Fire the Customer


Christian Marclay
Records (1981-1989)

via Unlocked Grooves


Kneelin’ Down Inside the Gate: The Great Rhyming Singers of the Bahamas
via musiquevintage 


Crash Of Thunder
Boss Soul, Funk & R&B Sides From King, Federal, & Deluxe Labels

via Twilightzone! 


Jean Dubuffet
Experiences Musicales 

via  … którędy pójdą dzicy święci



via Venenos Do Rock


Bastard Noise
Live, Raymond Bar, Clermont (Fr), Oct 20 2011

via Art Of Losing


Byard Lancaster

 via inconstant sol


John Jacob Niles
Sings American Folk Songs

via ghost-capital 


Bernard Parmegiani
De Natura Sonorum

via Unlocked Grooves

Great recordings from the seven corners of the internet carefully selected by the Sistemi Audiofobici Burp staff. 

WJM and DJ Baba Giovanni Bauli select 5 jems for your listening pleasure. Enjoy

Dead Kennedys  
Live at Earth Tavern: Portland, OR [1979.11.19]

through know your conjurer

This here is an amazing set from 1979 with very good sound quality. Highly recommended!! “Too bad for you, no heavy metal music for you- disease music instead!” - Jello (track 11)


 Shirley Collins and the Albion Country Band
No Roses 

through Weird Brother

No Roses is an album by Shirley Collins and the Albion Country Band. It was recorded at Sound Techniques, and Air Studios in London, in the summer of 1971. It was produced by Sandy Roberton and Ashley Hutchings (Shirley Collins’ husband at the time). It was released in October 1971 on the Pegasus label. It is very unusual to have 27 musicians and singers on an album of traditional folk songs. It happened because people simply dropped in during recording sessions and were asked to join in. At the time, the most unusual sound was the hurdy-gurdy, now heard much more frequently. “The Murder of Maria Marten” is broken into segments, with a heavy-rock alternating with Shirley’s voice accompanied by a simple drone. Shirley had used a similar technique on “One Night As I Lay on My Bed” on “Adieu To Old England”.

Personnel ▪ Shirley Collins - vocals ▪ Ashley Hutchings - electric bass guitar ▪ Richard Thompson - electric guitar, acoustic 12-string guitar ▪ Maddy Prior - vocals ▪ Colin Ross - Northumbrian small pipes ▪ Simon Nicol - electric guitar ▪ Lal and Mike Waterson - vocals ▪ Royston Wood - vocals ▪ Barry Dransfield - fiddle ▪ Dave Bland - concertina, hammer dulcimer ▪ Ian Whiteman - piano ▪ Roger Powell - drums ▪ Lol Coxhill - alto saxophone ▪ Alan Cave - bassoon ▪ Tony Hall - melodeon ▪ Dave Mattacks - sticks, drums ▪ Dolly Collins - piano ▪ John Kirkpatrick - accordion ▪ Nic Jones - vocals and fiddle ▪ Tim Renwick - electric guitar, acoustic 12-string guitar ▪ Francis Baines - hurdy-gurdy ▪ Alan Lumsden - ophicleide ▪ Steve Migden - French horn ▪ Trevor Crozier - jaw harp


Various Artists
Rutles Highway Revisited

through Rocket Remnants

The Rutles, in their original conception - a Rutland Weekend Television spin off called All You Need is Cash, a spoof documentary now considered to be pioneering and truly seminal (it’s still stands up well: funny, smart and wonderfully constructed) - soon gained cult interest, and on the back of the TV movie, several recordings were released; featuring Eric Idle (initially), Ricky Fataar (ex-Beach Boy [Holland period]), John Halsey (ex-Timebox, Patto, and acts far too various to mention), Ollie Halsall (ex-Timebox, Patto, Boxer, and again many many others), and at the helm, musical director and song writing genius Neil Innes (ex Bonzo Dog Doo-Dah Band and occasional Python).

You don’t necessarily have to know the recordings of The Rutles to appreciate this collection - although that does add something to the gratification of this product - but like all good cover versions the songs stand up very well on their own - no doubt in part as a consequence of reverence and homage - but the collection is still very strong throughout. When I listen to it I skip nothing; each song, no matter what the genre, compliments perfectly through its juxtaposition; creating a fantastic listening experience from beginning to end.

Galaxie 500 - Cheese and Onions
The Pussywillows - Hold My Hand
Bongos, Bass and Bob - Number One
Lida Husik - Good Times Roll
Dogbowl - Another Day
Das Damen - Piggy in the Middle
Syd Straw & Marc Ribot - I Must Be in Love
Joey Arias - Nevertheless
When People Were Shorter & Lived Near the Water - Let’s Be Natural
Unrest - Between Us
Peter Stampfel & The Bottlecaps - Ouch
The Tinklers - Blue Suede Schubert
Tuli Kupferberg - Living in Hope
Daniel Johnston - Baby Let Me Be
Uncle Wiggly - It’s Looking Good
Shonen Knife - Goose Step Mama
Jellyfish Kiss - Get Up and Go
King Missile - Doubleback Alley
Paleface - With a Girl Like You
Bongwater - Love Life


The Obsessed
Instrumental 7”

through Good bad Music for bad, bad Times!

This never came with a picture sleeve and it bears no information other than the pencil writing on the label and what the tail-out grooves say. The a-side matrix has the following etching: “160080. The Obsessed (Project”) and the b-side reads: “160081. Wino & Company”. Allegedly, 200 copies were printed and available through mailorder only.


Johnny Otis and Etta James

through Big 10-Inch Record

Great recordings from the seven corners of the internet carefully selected by the Sistemi Audiofobici Burp staff.

WJM selects 5 jems for your listening pleasure. Enjoy

Jerome Cooper
The Unpredictability of Predictability

through Fusionero 

The unpredictability of predictability
1. Movement A,B – flute, whistle, chiramia, bass drum, sock cymbal (9.59)
2. Movement C – drums set (mallet) (4.29)
3. Movement C1 – floor tom-tom, bass drum, sock cymbal, voice (6.40)
4. Bert The Cat – balaphone, chiramia, bass drum, sock cymbal (20.37)



through Power Pop Criminals

Spunk is the title of a bootleg album by a famous band, originally released in the United Kingdom during September or October 1977.

The album comprises studio demos and chatter recorded during 1976 and early 1977, while original bass player was still a member of the group. Most of the songs would later be re-recorded and officially released on the group’s debut album.

The original Spunk was itself copied and bootlegged immediately upon release. The tracks have since been re-bootlegged countless times in many different formats, including a widespread variant called No Future UK, which added three extra tracks, and many releases by Dave G., which often feature evidence of remixing or other post-production tampering. Spunk has also been the subject of several official releases.


Jason Lescalleet
electronic music

through shalalal 


Donaueschinger Musiktage

trough we fucking love music

1994 vol. 1 (modern pieces for player piano! borderline ridiculous)
2002 vol. 1 (vocal-centric)
2006 vol. 3 (Smolka and Mitterer fuck with the baroque)
2006 vol. 4 (large chamber works from Kagel and Posadas)
2007 vol. 3 (works for large orchestra/electronics)

2010 (new pieces for string quartet; unreleased)


The Chiffons  
Greatest Recordings

through dreamgirls

1. He’s So Fine (1:53)
2. My Boyfriend’s Back (2:06)
3. Stop, Look And Listen (2:39)
4. Oh My Lover (1:48)
5. One Fine Day (2:11)
6. A Love So Fine (1:57)
7. Nobody Knows What’s Going On (In My Mind But Me) (2:25)
8. Out Of This World (2:13)
9. Mystic Voice (1:39)
10. Up On The Bridge (3:02)
11. Dream Dream Dream (2:47)
12. My Block (2:44)
13. Did You Ever Go Steady (2:22)
14. March (2:19)
15. Keep The Boy Happy (1:54)
16. When The Boy’s Happy (The Girl’s Happy Too) (2:17)
17. The Real Thing (2:19)
18. Sweet Talking Guy (2:28)
19. I Have A Boyfriend (2:09)
20. Sailor Boy
21. I’m Gonna Dry My Eyes
22. Open Your Eyes (I Will Be There)
23. The Heavenly Place
24. Teach Me How
25. He’s A Bad One
26. If I Knew Then (What I Know Now)
27. Lucky Me
28. Why Am I So Shy
29. Tonight I Met An Angel
30. When I Go To Sleep At Night
31. Tonight I’m Gonna Dream
32. Down Down Down
33. My Sweet Lord 

Great recordings from the seven corners of the internet carefully selected by the Sistemi Audiofobici Burp staff.
To start the year Mat Pogo suggests 5 aces. Enjoy

 Ian Matthews
if you saw thro’ my eyes

through Una Medianoche Clara

Ian Matthews - guitar, vocals
Sandy Denny - keyboards, vocals 
Richard Thompson - guitar, accordion 
Pat Donaldson - bass 
Andy Roberts - guitar 
Tim Renwick - guitar 
Gerry Conway - drums


Alceu Valenca & Geraldo Azevedo

through Freefall

 Alceu Valenca is a well-known Brasilian composer that mixes native northeastern rhythms with elements of rock and psychedelia. Geraldo Azevedo is a virtuoso guitar player who started playing with various Brazilian pop artists, and adds a melancholy, folky sort of vibe on this release


Brazilian Big Bands
Dancing Days 1904-1954

through run rhythm run


Zoltán Jeney
Arupa / Fantasia Su Una Nota

through Twice Zonked!

Zoltán Jeney is one of the many innovative composers affiliated with Budapest’s New Music Studio, a highly versatile camp whose activities run the gamut from percussion pieces and chamber ensembles to various electro-acoustic excursions. Jeney’s works are fascinating both for his ear for unusual instrument combinations and for his unorthodox methods of composing. Often he leaves the manner in which the composition unfolds somewhat open-ended, allowing the performers to progress as they see fit. The two side-long pieces that comprise this album exemplify Jeney’s range of ideas and methods. 


Joel Chadabe

through Continuo

♫ Rhythms was Chadabe’s 3rd LP release after Ideas Of Movement At Bolton Landingon Opus One in 1974 and Echoes/Flowers on CP2 Records in 1976. Recorded in 1980, Rhythms is a set of rhythmic variations for computer-generated sounds and live percussion – the computer’s live interaction with an acoustic instrument being the pioneering aspect of the record. Developed by Chadabe, the program is based on an original rhythm structure whose parameters can be modified by the composer, and able to interact with live sounds from percussionist Jan Williams – something Chadabe had already experimented in his duo with violinist Paul Zukovsky inEchoes/Flowers. Consisting in looped midi sounds, mellow rhythm patterns and light percussion interjections, the music on Rhythms isn’t radical or cutting edge as such – it can even, to some extent, function as musique d’ameublement, or furniture music. Midi sounds emulate glass or gamelan instruments, and rhythm programing often denotes exotic touches – Chadabe quoting Caribbean and African influences.

Some great recordings found on the seven corners of the internet and carefully selected by the Sistemi Audiofobici Burp staff.

This time 5 treasures to end a year a start a new one. Selected by DJ Baba Giovanni Bauli

Phil Spector
Christmas Album 1963

from Mugre & Miseria

All Music Guide Review 
With a “Back to Mono” button adorning his long white beard, Phil Spector comes off looking like the manic St. Nick one would expect to see on the cover of a “Wall of Sound” Christmas album. His jacked-up look is often mirrored in this generously multi-tracked collection of Yuletide classics. Enveloped in a sonic morass of strings, horns, guitars, and percussion, Spector faithful like the Ronettes, the Crystals, Darlene Love, and Bob B. Soxx & the Blue Jeans give chestnuts such as “White Christmas” and “Winter Wonderland” a girl group makeover. Other highlights include Love’s “Frosty the Snowman” and “A Marshmallow World,” the Ronettes’ “I Saw Mommy Kissing Santa Claus,” and the whole crew’s version of “Silent Night.” One of the more distinct titles in the Christmas album catalog. [Initially released in 1963 as A Christmas Gift for You From Phil Spector] ~ Stephen Cook, Rovi 


Timothy Leary
You Can Be Anyone This Time Around 

from The Red Hippie

You Can Be Anyone This Time Around is an Album which Timothy Leary made and organized in 1970. Timothy Leary was born in Massachusetts in 1920. Soon he entered a Military Academy with whom he had serious problems for breaking the law numerous times (for drinking contests and other assorted stuff) and after going to court and a full year being purposefully ignored by his colleges he was Honorably discharged. He moved to the Alabama University, and he studied continuously until receiving a Ph.D in Psychology by the University Of California. Afterwards he started working as a teacher in that same university, from where he ended up being expelled for being a proponent of Psychoactive drugs between the students. In 1960, after taking some psilocybin mushrooms in Mexico, he stated that he had learned more in those five hours about his conscious and Psychology than 15 years of studying. Upon his return to Harvard he established a research team on Psychoactive Drugs, starting a series of experiments on human beings. Allen Ginsberg (the Beat Poet and a famous underground personality) wanted to take part on the experience and also wanted to expand it, giving it to several people on the counter-culture. Leary was once again fired, and went to live in a mansion where he and a group of several people experienced Psychedelics until LSD was forbidden in 1966. I have not been able to find when this was recorded but it had some of the best musicians participating, for example, Jimi Hendrix, Stephen Stills and John Sebastian. Best Tracks - “You Can Be Anyone This Time Around”, “What Do You Turn On When You Turn On” and “Live And Let Live”. You Can Be Anyone This Time Around is truthfully one of the most interesting Albums i’ve heard in a while, half interesting for its music and half interesting for the speeches that are given. Some of the songs feature short samples of psychedelic acts, like Country Joe & The Fish and also some of the beginning verses of Ginsberg’s poem Howl.

The Personnel is not complete.
Timothy Leary (You Can Be Anyone This Time Around Personnel):  
Timothy Leary - Voice.
Jimi Hendrix - Bass.
Stephen Stills - Guitar.
John B. Sebastian - Guitar.
Buddy Miles - Drums.


The Tuba Trio
Essence: The Heat And Warmth Of Free Jazz

from randall funk

The Tuba Trio’s Essence: The Heat And Warmth Of Free Jazz is a three volume set pressed in individual volumes by Circle Records in 1977. I found each volume in a bin at a local shop a while ago.

Each LP features long, free wheeling jazz tracks, performed by Joe Daly (tuba, percussion), Sam Rivers (saxophones, piano, voice, flute), and Warren Smith (drums, percussion). It’s a fantastic session - all tracks recorded live at the Bim Huis, Amsterdam, September 2nd, 1976.

The set is likely hard to find - I’d try the Discogs Marketplace for vinyl copies - but you might also click here for an mp3 download of two super long tracks (includes Side A of Vol. II and Side B of Vol. III).

Tracklist Vol. I A1 Part I - Instrumental Solo Of The Tenor Sax 3:20 A2 Part II - Instrumental Solo Of The Tuba 3:15 A3 Part III - Instrumental Solo Of The Drums 4:20 A4 Part IV - Group With The Tenor Sax - Dramatic Intrusion Of A Second Tenor Sax 11:10 B1 Part V - Group With The Flute 16:25 Tracklist Vol. II A Part VI - Group with the Soprano Sax 20:20 B Part VII - Group with the Piano, with a Tuba and a Drum Solo 19:30 Tracklist Vol. III A Part VIII - Group With The Tenor Sax 18:05 B Part IX - Drums Interlude - Group With The Piano 14:10 Drums, Percussion –

Warren Smith Producer – Rudolf Kreis Saxophone [Tenor, Soprano], Flute, Piano, Voice – Sam Rivers Tuba, Horns [Baritone Horn], Percussion, Performer [Pipe] – Joe Daley


The Boy Wonder Sessions (1966)

from Willard’s Wormholes 

Helmed by Freak Out producer Tom Wilson, The Boy Wonder Sessions began as a quick-buck 45 recorded by Burt Ward, a.k.a. Robin from the 60s TV show Batman. Originally taped in June 1966, “Boy Wonder I Love You” features Burt reading teenage fan letters (don’t miss the essential punch line) over a Frank Zappa written & arranged recordingwith some of the Mothers of Invention (listen for the “Duke Of Prunes” chord changes near the end). The B-side is a Nat King Cole hit, “Orange Colored Sky,” given a comic, Mothers-style “American Drinks And Goes Home” arrangement, again by Frank. Other tracks were recorded during the sessions, supposedly for a follow-up single (or for FZ’s own purposes) that were never released. One of the instrumental tracks, “Variant 1,” is extraordinary. Presumably written by Zappa, it would have fit nicely on Lumpy Gravy, even though the orchestration sounds straight out of the British TV show, The Prisoner (not broadcast until a year later).


The Flying Lizards
The Secret Dub Life of the Flying Lizards 

from Big Head Stevenson 

 The source tapes for this CD were recorded in Jamaica by Jah Lloyd (Patrick Francis) as part of a series he made for Virgin Records’ Front Line label. The original tapes were not released and were offered to me by Front Line’s Jumbo Vanrennen with the suggestion that I should ‘remix’ the music. I accepted the project, expecting lots of time in one of Virgin’s studios to play with the music and the equipment, only to be presented with a mono master tape of the music.So I began to invent (or perhaps re-invent) techniques of editing, looping, filtering and subtraction to deal with unremixable mono material (these were the days before samplers). the subsequent work took a long time; as I thought it might be something of an indulgence I only worked on it at weekends and evenings rather than let it interfere with other projects.The techniques used here expanded my vocabulary of musical electronic (as opposed to electronic music) treatments and appear in a very different form on records made at that time and thereafter, notably ‘Fourth Wall’ my collaboration with Patti Palladin and my production work on Michael Nyman’s records.The original players remain unidentified, Jah Lloyd used various combinations of musicians but did not indicate who played on which tracks.This year I added the ‘preface’ and ‘postscript’ using a similar approach as in 1978 but with the technology of 1995, partly to make the CD a decent length, partly to find out what effect a different technology would have, and additionally in recognition of the continuing influence this work has had on my approach to the recording studio.

David Cunningham may 1995

Some great recordings found on the seven corners of the internet and carefully selected by the Sistemi Audiofobici Burp staff.

This time a 12 downloads collective selection for your listening satisfaction.

Concert Percussion for Orchestra

from A Closet of Curiosities

Side A
1. Amadeo Roldan - Two Ritmicas: I. No. 6 Tiempo de Rhumba {1:46}
2. Amadeo Roldan - Two Ritmicas: II. No. 5 Tiempo de Son {2:25}
3. Lou Harrison - Canticle No. 1 {3:57}
4. William Russell - Three Dance Movements: I. Waltz {1:35}
5. William Russell - Three Dance Movements: II. March {1:37}
6. William Russell - Three Dance Movements: III. Fox Trot {1:08}
7. Henry Cowell - Ostinato Pianissimo {3:18}

Side B
1. William Russell - Three Cuban Pieces: I. Havannera {0:52}
2. William Russell - Three Cuban Pieces: II. Rhumba {0:43}
3. William Russell - Three Cuban Pieces: III. Tiempo de Son {0:43}
4. John Cage and Lou Harrison - Double Music {5:35}
5. John Cage - Amores {9:47}
I. Solo for Prepared Piano
II. Trio (Nine Toms-Toms, Pod Rattle)
III. Trio (Seven Wood Blocks, not Chinese)
IV. Solo for Prepared Piano


Sensation’s Fix 
Portable Madness

from Silverain TR


- Keith Edwards / drums, percussion
- Franco Falsini / acoustic & electric guitars, synthesizers
- Richard Ursillo / bass, bass pedals

1. Smooth and round
2. Fullglast
3. Phase one and phase two
4. Underwater
5. The next place of nobody
6. Party day resistance
7. Leave my chemistry alone
8. Strange about the hands
9. Relative jump into water


The Shadows  
The Shadows 

from Big Head Stevenson

The Shadows, a 1961 rock album by British group The Shadows, was the first instrumental LP by a British group to reach number one in the UK charts.


Side 1
  1. "Shadoogie" (Hank Marvin, Bruce Welch, Jet Harris, Tony Meehan)
  2. Blue Star" (Victor YoungEdward Heyman)
  3. "Nivram" (Bruce Welch, Hank Marvin, Jet Harris)
  4. "Baby My Heart" (Sonny Curtis) – (Vocal: Hank Marvin)
  5. "See You in My Drums" (Tony Meehan) - Drum solo
  6. "All My Sorrows" (Dave Guard, Bob Shane, Nick Reynolds) – (Vocal: Jet Harris)
  7. "Stand Up and Say That" (Hank Marvin)
Side 2
  1. "Gonzales" (McGlynn alias Bruce Welch, Hank Marvin)
  2. "Find Me a Golden Street" (Norman Petty)
  3. "Theme From a Filleted Place" (Hank Marvin, Bruce Welch, Jet Harris)
  4. That’s My Desire" (Helmy Krease, Carroll Loveday) – (Vocal: Bruce Welch)
  5. "My Resistance is Low" (Hoagy Carmichael)
  6. Sleepwalk" (Ann Farina, Santo Farina, Johnny Farina, Don Wolf)
  7. "Big Boy" (Bruce Welch, Hank Marvin)


Docteur Nico
african fiesta @ 45 tours

from Lucky Psychic Hut

the far from complete vita singles 1963-5 
part 01 - vita 01-25

According to Alastair Johnston’s invaluable Docteur Nico Discography, African Fiesta came together in 1963, featuring Nicolas Kasanda on lead, his brother Dechaud on rhythm guitar and Tabu Ley Rochereau on lead vocals, with Roger Izeidi, Kwamy Munsi, Joseph ‘Mujos’ Mulamba, Depuissant, Joseph Mwena, adding Faugus Izeidi, Paul Mizele, Dominique Kuntima and Jeef Mingiedi in due time. Having developed his electric guitar skills with African Jazz, Nico was really sailing by this time, exploring tone and texture with a great sense of adventure and a liquid sense of time. 


Lee Dorsey
Yes We Can 

from Life As A Rehearsal

produced by Allen Toussaint with instrumental backing provided by the Meters.


Luciano Berio
(Ensemble Intercontemporain)

from Da capo a rapo

Luciano Berio: Sequenzas I-XIII
Soloists of the Ensemble Intercontemporain

Sequenze is series of works for solo instruments
The first, Sequenza I came in 1958 and is for flute; the last, Sequenza XIV (2002) is for cello. These works explore the fullest possibilities of each instrument, often calling for extended techniques. 


Inside Star Trek
featuring Gene Roddenberry

from Record Fiend

(Columbia, 1976)

The record is primarily a spoken word affair, with Gene Roddenberry, the Great Bird of the Galaxy himself, serving as narrator and interviewer. At the beginning, he states, “Star Trek. How did it happen? When did it start? What are the people, the things we couldn’t say on television? What are the stories which haven’t been told? These are the voices of Star Trek, the way we think, some of what we think about, some of what we talk about in private.” In between the interviews and Roddenberry’s philosophical waxings are selections from an extensive speech that he had presumably given at a fan convention in which he describes what it was like dealing with the NBC television network while the show was in production.


Alain Saverot
Ballade Rustique

from Continuo

The son of a French professional violinist who played in a string quartet, French painter Alain Saverot was born in Sousse, Tunisia, in 1947. He traveled by foot across Central Africa in the 1960s and discovered African ethnic music and instruments – this LP’s cover image might be from this period. Back in France, he graduated from Dijon’s fine arts school in 1964. His paintings and drawings have been shown in various exhibitions in France and abroad since the mid-1970s – see official website. In 1982, Saverot published 2 LPs on artist-funded record company Le Kiosque d’Orphée, titled Tirage de Tête and Ballade Rustique


Joseph Schmidt
1904 - 1942 

from Zero G Sound

Joseph Schmidt was a tenor who lived in the first half of the twentieth century, whose glorious sound and way with a song made him a hugely popular radio star and recording artist; he was also the first singer the Nazis banned from Berlin radio.

This album contains some of Joseph Schmidt´s great recordings for movies and as a Temple singer.



from Crystal Vibrations

valley of the sun publishing 1982

(…) i really don’t know much of anything about this tape. acquired it on the new age cassette black market in the dark of night, down an alleyway, you know the deal…..the music is raw, grungy, distorted, rumbling new age bubble bath.(…)


Trevor Wishart  
Sounds Fun!

from Aphelion Shelter

Trevor Wishart presents a series of compostional exercises as children’s games in this two volume set of workbooks. For instance, one game utilizes the structure of hockets to imbue competition, while another game asks each player to make a musical score by cutting and pasting images from magazines. One of my favorites, called “Bluebottle”, borrows an idea from R. Murray Shaeffer to create a musical game of tag. The book is cleverly designed with an entailment chart in the back of each book to show suggested ways one game can flow into another. Each game also includes suggestions to keep the “dropouts” busy - dropouts being those players who have had to leave the game for one reason or another.


Vladan Radovanović
Voice From The Loudspeaker 

from Continuo

Serbian composer, visual artist and theoretician Vladan Radovanović (b. Belgrade, 1932), is a Yugoslavian electronic music pioneer who established former Yugoslavia’s first electroacoustic music studio, the Radio Belgrade Electronic Studio in 1972.
Voice From The Loudspeaker is a conceptual text about the recorded voice, the magnetic tape medium and the loudspeaker’s reproduction of the recording. In its use of self-referential speech, it is somewhat comparable to Alvin Lucier’s I Am Sitting in a Room, save for the sound treatment.