#radiophonics

[placidhousee]

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[mendelpalace]

The Rowan Amber Mill - “Disciples of the Scorpion (Main Theme) Heavy Mix“

Taken from a forthcoming album of the same name that has been six years in the making, an album which straddles acid folkery, heady rock and plenty of Radiophonics.

@lunaticobscurity you might find this interesting: the “title theme” for a non-existent 70′s folk horror film. A full album based on the concept is upcoming. 

[if-you-fan-a-fire]

“Filming the Latest in Loudspeakers,” Moncton Daily Times. March 11, 1933. Page 5. ---- Our picture shows the filming of the new "searchlight" 24-inch moving coil loudspeaker, one of the largest ever constructed, from the roof of the Marconiphone Building in London. It is possible to hear this speaker five miles away. In the lower left-hand corner of the picture can be seen some of the old directional loudspeakers.

[spaceintruderdetector]

projectmoonbase.com

We bring you music you’ve never heard before that will put a smile on your face, open your third eye and make you dance. We love space age bachelor pad music, library music, charity shop cheese, hauntology, ping pong stereo, moog music, sitar-driven psychedelia, lounge, the retro-futuristic, contemporary electronica, soundtrack music, radiophonics, euro-pop, orchestral-pop, industrial-opera, hyphens, 8bit, chip tune, skwee, uneasy listening and steel drums. We’ve been known to salute the theramin, sidle up to an ondes Martenot and smile beneficently on the ukelele. Every episode includes the unnecessary news: the strange, the weird, the futuristic and the fun. Join us now and in the future!

http://www.projectmoonbase.com/

[c-o-n-f-l-u-x]

My first solo exhibition will be in #Leeds this September (22nd at @leftbankleeds) #hauntology #experimentalfilm #photoart #dronemusic #radiophonics

[violentwaveforms]

The production team had hit upon something fundamental that would have a profound impact on the way tape music would be used to best effect at the Radiophonic Workshop. One of the things tape manipulation was uniquely good at producing was this kind of low frequency static texture, an effect that was impossible for traditional instruments to re-create and that excelled at evoking a kind of trancelike state, a scene of absolute stasis, of potentially infinite duration, with a mechanical rhythmic drive that remains frozen in one spot.

On the radiophonic production of “Private Dreams and Public Nightmares” [October 7, 1957]

-Louis Niebur, “Special Sound: The Creation and Legacy of the BBC Radiophonic Workshop”

[violentwaveforms]

Private Dreams and Public Nightmares [October 7, 1957]

The formidable combination of Briscoe’s sound effects background and Oram’s musical training and experimental curiosity gave the final program a polish never before seen in a radiophonic production in England. The vocal treatment, primarily exaggerated filtering, contribute hugely to the overall effect. In addition, most of the standard musique concrete techniques were used: sped-up tape, backward sounds, echo effects, largely percussive tape loops. One of the most effective moments is the extended conclusion. McWhinnie had noted in his introduction the difficulty in producing sounds that were warm and beautiful, and it was one of his goals for this production to attempt sounds that weren’t just nightmarish but also represented a kind of peace or joy.  The moment closest to this feeling occurs at the very end, where the dreamer is finally comforted by the realization that he himself has generated and embodied all his own worst fears [16:21]

The solution the production team arrived at for this concluding epiphany was to return to a sound much nearer traditional tonal music that the abstract percussive sounds used throughout the rest of the poem, What results is a drone based interval of a major third between D-flat ♭♭ and F in a pattern that undulates gently. It provides a comfortable but indefinable warmth, a shell of sound that surrounds the listener with its stability and solidity after the barrage of cacophonous sounds heard earlier.

-Louis Niebur, “Special Sound: The Creation and Legacy of the BBC Radiophonic Workshop”

[violentwaveforms]

He goes through a series of progressively more and more harrowing demasculinizing events, with more and more treated sounds piled on, until he is literally stripped and left in the street by a crowd of shrieking women, voices sped up and distorted.

On the radiophonic production for Giles Cooper’s “The Disagreeable Oyster”, completed on August 25, 1956.

-Louis Niebur, “Special Sound: The Creation and Legacy of the BBC Radiophonic Workshop”