7x7 (10. 269)

memorymoog: Mark Mothersbaugh of Devo shares his synthesizer collection  

erry & merry: the portfolio illustrator Walter Schnackenberg whose subject and style was informed by Toulouse-Lautec’s Parisian cabarets 

unalloyed: scientists discover a way to synthesise a cosmic compound that may be a cheap and abundant substitute for rare earth elements  

star-bellied sneech: verification for sale 

astronomicum caesareum: an exploration of an intricate, antique tome commissioned to prognosticate one’s destiny  

waverly abbey: an ancient yew in Surrey is accorded the UK Tree of the Year title  

ondioline: a demonstration of this precursor to the synthesizer from Jean-Jacques Perry—via Pasa Bon!

fiftyshapes ltd (10. 130)

Incorporated on this day in 1967, the Beatles’ Apple Electronics venture was headed by a television repair technician named Yannis Alexis Madras, whom had been discovered by John Lennon two years prior after seeing a selection of his Nothing Boxes (plastic housing with blinking lights) at a London Gallery. Given the moniker “Magic Alex,” he reputedly pitched a series of increasingly fantastical (but ones we’d like to see) inventions including a seventy-two track tape machine, an air-buffer to prevent car accidents, replacing Ringo’s drums with a sonic force field, a wallpaper sound-system, invisibility paint and an artificial sun—none of which unfortunately materialised. 

Later that same year, Madras tried to help broker a deal for the band to purchase a Greek island but that deal fell through as well. Though the majority of Madras’ inventions were dismissed as impossible (perhaps rather inexplicably, he was nonetheless entrusted him with the design of their new recording studio once they left Abbey Road), one of his proposals for a scrambling device that would prevent fans from recording their songs from the radio was better received. Parting ways in 1969—ostensibly jealous over the influence that Maharishi Mahesh Yogi had over Lennon after they were all in India together, Madras took up a career in security and anti-terrorism, offering custom bullet-proof vehicles, bug-detectors, etc—his clients primarily exiled heads-of-state living in London, Crown Prince Juan Carlos, the Shah of Iran and fellow countryman Constantine II.

7x7 (10. 110)

ch-ch-ch-chia: University of Virginia research team 3D prints living walls and roofs  

the road to rhûn: more interactive LOTR maps to explore—see previously  

defenestration: accident-prone energy executives  

doctor doolittle: translating non-human animal vocalisations into language with artificial intelligence 

the hunt for the golden walnut brain of ronald reagan: an adventure from John Hoare (previously)—via Things Magazine  

lady woman: a sample track from Boris Midney’s reimagining of 1979 “Evita” as a disco opera 

reefer madness: researchers make an advance in the race to save Caribbean coral, whose health also affects hurricane intensity

🍿 (10, 071)

Via Waxy, we learn that chindōgu engineer and friend Simone Giertz has created a music box that produces its melodies from popping bubble-wrap, configured specifically to play the Moog-standard “Popcorn” by the group Hot Butter. The dedication to the project and process is admirable and quite ingenious.

i let the music speak (10. 067)

Released as a record album at the end of November 1981 and the groups last studio album for four decades until their 2021 reunion, ABBA’s The Visitors was among the first to be digitally mixed and recorded and on this day in 1982 became among the first to be pressed and issued in CD format (Polygram Records also put out a disk of Chopin waltzes and Phillips would be releasing a tranche of some fifty artists including Billy Joel available in stores in the autumn). Despite personal conflicts that strained their professional relationship and musical partnership, this final collaboration was a success, cathartic and critically well received. Still getting accustomed to the new technology, the sound engineers thought the recording to be too clean and missed notes and beats would be harder to overlook.

everybody wants to rule the tuba (10. 060)

Our gratitude to our peripatetic friends at Marco McClean’s Memo of the Air for directing us back to the musical stylings of Seb Skelly (see previously) in his latest perfectly arranged for brass quintet and masterfully performed (all by Skelly) Tears for Fears’ track. Much more to explore at the links above.

glastonbury fayre

The free four-day concert hosted in Pilton—the second Glastonbury festival, opened on this day in 1971 with the venue of a special Pyramid Stage, a one-tenth scale model of the one at Giza constructed of sheet metal and positioned over a water source discovered with dousing and was documented by filmmakers Nicolas Roeg and David Puttnam—released the following May. Performances included numbers by Melanie, David Bowie, Traffic, Fairport Convention, Tonto’s Expanding Head Band, Mighty Baby and Hawkwind.

7x7

2slgbtqia+: a calendar of Native American and First Nations’ Pride events—the 2S is for “Two-Spirits”  

about the damn end: DJ Cummerbund (previously) mixes Lizzo and Linkin Park—via Waxy  

sacred modernity: McGregor Smith explores Europe’s superlative post-war churches—via Things magazine

why ernest saves christmas: wholly machine-generated articles on any number of topics—the logorrhoea of infinite neural networks producing infinite copy, via Web Curios  

signature sound: a 1957 musical horoscope album (see also here and here) orchestrated by Hal Mooney  

the endangered california bumbletrout: court declares bees are fish to afford them better defence under the state’s species protection act  

night of a thousand judys: a tribute concert for charity on what would have been Garland’s one-hundredth birthday

that’s how the cookie crumbles

Via Web Curios we learn about a clever browser extension (along with a suite of similar incognito tools) sponsored by UNESCO that is designed to reveal the subjectivity of one’s tailored and idiosyncratic experience online by inviting one to adopt a range of personae that influences the direction and tone of one’s directed advertising and anticipation in inscrutable ways (see also) that the user would have no way of knowing was markedly different than the underpinnings presented to someone else.  While we may not be able to exactly remove the blinders, we can at least perhaps be attuned to different pitches, perspectives.

6x6

serenade: French illustrator Gaspard portrays musicians harmonising with feathered friends in lush settings  

bon temps roulez, mes amis: New Orleans celebrates its first full-scale Marti Gras in two years  

donzig: a rather clever mashup of Donna Summers and Danzig’s cover of The Doors’ Mother  

complications: a clock face engineered to make telling the time a challenge—see also  

displaced persons: a historical pamphlet on the situation in Ukraine following World War II 

 aux in: a superlative collection of boom-boxes from Japan

dass modell / computerliebe

The first West German act to chart in the UK in the latter half of the twentieth century, the double single (A-side and B-side) from Kraftwerk (see previously here, here, here and here) first rose to number one on this day in 1982 and held its place for twenty-one weeks.  This success led to the group’s first concert tour.  From their eighth, bi-lingual studio album Computerwelt, the thematic tracks dealt with the effects of technology and computers on society, the songs debuted in May of the previous year with the likes of “Pocket Calculator,” “It’s More Fun to Compute” and “Heimcomputer.”

golden nose slim (knows where you’ve been)

On this day in 1972, T·Rex again topped UK charts—the third out of four do reach these heights in a run comparable to Beatlemania and first-wave British Invasion—with their single “Telegram Sam,” with a similar beat and instrumentation as their previous hit “Bang a Gong [Get It On],” for a run of two weeks. The glam rock group headed by Marc Bolan (off their seventh album, The Slider, since they first got together as Tyrannosaurus Rex in 1967) popularised the term “main man” and was ostensibly about being loyal to one’s dealer.

7x7

2020—too…: the moment it hits you 

the colours of motion: spectral analysis of contemporary film classics  

the timekeepers of eternity: a printed, pagination interpretation of Steven King’s novella The Langoliers  

forefather time: on the trial of the masqueraded, marauding Jukace that herald the New Year for one Polish city  

visual vernacular: Jayme Odgers—one of the montage artists behind California’s New Wave aesthetic, creates a legacy repository of his works 

ham and banana hollandaise: a cursed collection of dishes from McCall’s Great American Recipe Card Collection 

those we’ve lost: a more comprehensive compilation of celebrity obituaries from the past year from Bob Canada’s Blogworld

7x7

the dance of the proletariat: a cultural revolutionary ballet 

reefer madness: an excerpt from “Cocaine, the Princess of Perdition” (1939)  

beef and dairy network: a 1986 board game called “Grade Up to Elite Cow” 

music to moog by: Melbourne’s Electronic instrument museum  

old growth: an anthology of the most memorable trees in the literary canon  

ambiguate: a notable lacuna, lexical gap for a word that ought to have been formed 

rhythm is a dancer: a comprehensive dance music archive covering the recent past—via Things Magazine

the original new timbral orchestra

The Expanding Head Band at the helm of TONTO, the ENIAC and ENIGMA mainframe of modular synthesisers, fronted by pioneering electronic duo Malcolm Cecil (†2021, pictured) and Robert Margouleff, as Things Magazine informs, produced few recordings themselves but widely and extensively collaborated with artists of all backgrounds and genres to help their signature psychedelic (see also) sounds gain a purchase in mainstream music. They worked with Stevie Wonder, the Isley Brothers, Joan Baez, Richie Havens, Randy Newman, Quincy Jones, Ravi Shankar and the Doobie Brothers—just to name a few. More at the link above and enjoy their 1971 album Zero Time below.

music to moog by

Originally composed and recorded by Gershon Kingsley (born Götz Gustav Ksinski, electronic music pioneer whom also wrote rock-inspired synagogue music) in 1969, the version of the staccato synth-pop standard from the eponymous album that we are most familiar with was covered by fellow quartet member Stan Free, classically-trained jazz artist and studio musician for several groups including The Four Seasons and the Monkees, for his ensemble Hot Butter, charting on this day in 1973 among West German listenership to its highest position, reaching number one.

twenty-first century digital boy

Via fellow-internet caretaker, Miss Cellania, we discover that the Hood Internet (previously here) has returned with their latest musical anthology mashing-up the top sixty hits from the year 1990 in a clever three-and-a-half-minute medley. I admit too that I had trouble placing these songs in the right decade. What are some of your favourites from thirty years ago that still sound fresh? I don’t know how to live but I’ve got a lot of toys. 

 

plainsong or novum organum

Via Kottke’s Quick Links, we are invited to remix a studio session of Gregorian chant, adding hum, reverb and more church bell as well as a number of preset modes and voices.  Although traditionally credited to Gregory I, the musical style is likely a synthesis of Roman and French choral customs, evolving into an elaborate, articulated system of chords and cadences as performers and composers became more keenly aware of the numeracy of song, though assuredly championed by the music-loving Pope. Notation and scale developed from this chant tradition, with the eventual eight modes being Dorian, Phrygian, Lydian and Mixolydian and their (hypo-) subordinates.