william_kent

Well-known member
Now forever associated with Dennis Nilsen muttering "I've had a hell of a day at the office" while making PG Tips for a rotting corpse in Y-fronts propped up on the sofa.

Anyway, here's the only voice-noise track you'll ever need referencing the GLC's Homesteading scheme by a bloke called Clive (would be my guess)



I might have once mentioned how Nilsen tried to chat me up at 3;30 AM at Kings Cross Station? "so cold, why don't you come back to my flat, it is warm there, so cold here, brrrr, my flat is warm, you can sleep on my sofa, so cold here, brrr" - there was something "off' about the offer, so I declined - a few months later I saw the news and they were clearing the drains of human flesh outside his flat - one thing I have in common with my father is that we both escaped death at the hands of a murderer

edit: if I remember correctly then @martin 's sister had more interactions with Nilsen than I had? she worked in the same office as him?
 
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william_kent

Well-known member
anyway, does JAZZ INFLECTED YODELLING count?



Leon Thomas - Echoes

( or is it "yodelling inflected jazz"? who cares, it is the sound of a creator who has a master plan )
 

blissblogger

Well-known member
If birds have voices and surely they do, then this is a beautiful tweetscape - conjured through processing, layering and wotnot by Ron Nagorcka



the whole album is a lovely avian-garde musaic - field recordings turned phantasmagoric



and it's going for a song in wonderful WAV quality here, combined with another similar release Soundscapes from Wilderness




R-827104-1162839680.jpg
 

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Blissblogger2

Active member
if insects have voices...




“When I returned from Japan my bag was full of records, a vast number of them with the sounds of nature: birdsong, the creaking of frogs, cricket and insect song. That very year I composed Cricket Music. This tape recording-composition is a piece of “organized nature”, arranged-trouvé, thought through and felt, and empathized and thought over. The material of the music exclusively consists of chirring of crickets, cut and combed like Japanese gardens, a five-voiced madrigal-comedy performed by the tiniest musicians in the world" - Peter Eötvös
 

Blissblogger2

Active member
Also from Peter Eötvös



Alongside "Starsailor" this might be my favorite voicescape of all

The composer explains:

In “The Tale”, 99 Hungarian folk tales are „squeezed” into 12 minutes and 34 seconds. The form of the composition corresponds to the general structure of all folk tales in the world:

– the introductory formulas (… once upon a time …)

– the quantitative description of the characters (3 brothers, 7 young goats…)

– the conflict (here a violent fight against the dragon)

– the resolution of the conflict leading up to the final formulas (… it was so.)

All the sounds of the sound play are produced by a female voice, filtered in the form of a three-part ratio round (3: 4: 5), cut, and as a result it is faster, to imitate a bird, or slower, to imitate a bear, telling the fairy tale made of fairy tales.

The time shifts create passages full of polyphony and counterpoint, where sequentiality turns into an odd simultaneity, as in our contemporary world of music, where three or four successive centuries are layered into and on the top of each other mixing into and suppressing the present time.
 

thirdform

pass the sick bucket
Also from Peter Eötvös



Alongside "Starsailor" this might be my favorite voicescape of all

The composer explains:

In “The Tale”, 99 Hungarian folk tales are „squeezed” into 12 minutes and 34 seconds. The form of the composition corresponds to the general structure of all folk tales in the world:

– the introductory formulas (… once upon a time …)

– the quantitative description of the characters (3 brothers, 7 young goats…)

– the conflict (here a violent fight against the dragon)

– the resolution of the conflict leading up to the final formulas (… it was so.)

All the sounds of the sound play are produced by a female voice, filtered in the form of a three-part ratio round (3: 4: 5), cut, and as a result it is faster, to imitate a bird, or slower, to imitate a bear, telling the fairy tale made of fairy tales.

The time shifts create passages full of polyphony and counterpoint, where sequentiality turns into an odd simultaneity, as in our contemporary world of music, where three or four successive centuries are layered into and on the top of each other mixing into and suppressing the present time.


Absolutely love that composition. better than all of barty's and Kieran's music combined. tell Barty to become the worlds first south london pan-turanist. Unfortunately Kieran cannot achieve that honour, because many American turanists exist, not sure if they do in LA though.
 

Blissblogger2

Active member
Absolutely love that composition. better than all of barty's and Kieran's music combined. tell Barty to become the worlds first south london pan-turanist. Unfortunately Kieran cannot achieve that honour, because many American turanists exist, not sure if they do in LA though.

i had to look up "pan-turanist"

so does that mean you are claiming Eotvos as a Hungarian to be essentially Turkish?
 

thirdform

pass the sick bucket
i had to look up "pan-turanist"

so does that mean you are claiming Eotvos as a Hungarian to be essentially Turkish?

This is an amusing read


Indeed, Pseudo-Turkology has even been adopted in some countries that are not Turkic at all. In no case is this as clear as in Hungary — the latest country to become an observer to the Turkic Council.
There is no contemporary debate in mainstream academia as to whether Hungarian is a Turkic language. Although the theory was proposed in the 19th century, the debate was largely settled in the 20th century when Hungarian’s Finno-Ugric origin was proven decisively. Then, like today, the association of Hungary with Turkic countries is accompanied by the anti-Western and pan-Turkist ideology of Hungarian Turanism.
Turanism, taking its name from an old-fashioned way of describing Central Asia, the heart of the Eurasian Steppe, is a pan-nationalist ideology that seeks close cooperation between “Altaic” peoples. The “Altaic” language group was essentially a 19th-century dumping ground for languages that European linguists did not know how to classify, including Hungarian and Turkic, and even Mongolian, Japanese, and Korean. Many Hungarian intellectuals believed the connection was real, however, and developed the idea into the anti-Western and fervently nationalist political ideology of Hungarian Turanism.
As with Pseudo-Turkology, Hungarian Turanism is also backed up by theories about Hungarians being Scythians and involved in all sorts of major historical events stretching back millennia. For the past decade, the far-right and officially Turanist party Jobbik has flourished in Hungary, winning around 20% of the vote in the last three elections. One of its key electoral pledges in 2010 was the establishment of a new research institute that would prove the “truth concerning the ancient roots of the nation” — an attempt to have the state elevate Turanism to the level of official ideology.
Not to be outdone, Prime Minister Viktor Orban and his nationalist government have taken their own Turanist shift. On a visit to Kazakhstan in 2013, the hegemonic Hungarian leader declared: “We are equal in political terms in the European Union, but genealogically we are different. When we go to Brussels, we do not have any relatives there. But when we come to Kazakhstan, we have close people here.” The same year that Hungary became an observer to the Turkic Council, the speaker of the Hungarian Parliament, László Kövér, gave the opening address at the Parliamentary Assembly of Turkic-Speaking Countries, proudly declaring: “Our Turkic brothers have accepted us as one of them.”
At a meeting of the Hungarian Turan Foundation, Orban publicly endorsed the notion that Hungarians are “Kipchak Turks” and descendants of Attila the Hun (confusingly, Attila’s Huns are not the same people as modern Hungarians).
 
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