01 Blood Stereo “The Giving Of The Grape” (Excerpt) From Your Snakelike King (Pan)

02 Carlos Giffoni “Spiral Of Rest” Previously unreleased (No Fun)

03 The Haxan Cloak “Burning Torches Of Despair” Previously unreleased

04 Mazen Kerbaj & Sharif Sehnaoui “Reductionism” Previously unreleased (Al Maslakh)

05 Leyland Kirby “An Obsession With Beautiful Losers” Previously unreleased (History Always Favours The Winners)

06 Leisure High “Into Quito” Previously unreleased

This compilation © 2009 The Wirethewire.co.uk

Cover image by Weirdcore

07 Mattin “Condition” Previously unreleased

08 MV & EE with Willie Lane “Twitchin’” From Wiz Wid (Heroine Celestial Agriculture)

09 Marina Rosenfeld “‘I love you man’” Previously unreleased

10 Skull Defekts & The Sons Of God “Received & Transmitted” Previously unreleased

11 Ishmael Wadada Leo Smith “For Grant Green” From Abbey Road Quartet (Treader)

12 Gary War “Namaha” (Gary War Version) Previously unreleased (Care In The Community)

13 Zavoloka vs Kotra “Micrmes Welt” From Revolt (Kvitnu)

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01

Blood Stereo“The Giving Of The Grape” (Excerpt)From Your Snakelike King (Pan)

Blood Stereo is Karen Constance and Dylan Nyoukis. Both from Blackburn, West Lothian, now residing in Brighton, East Sussex. “Anal fins tucked in tight behind them, Blood Stereo look like a pair of ill-kempt roosters, fighting over a doughnut. The guy rooster is jibbering in some unknown tongue, turning his face inside out, while shoving the microphone slowly through a hole in his cheek. The girl rooster appears to be pecking at him, either that or she’s picking at various trash they have strewn around the stage. Every time she ducks her head there is the sound of a jet passing overhead. But when you look up at the sky there is no sign of a comtrail. After a while you think you are starting to get a handle on what they are doing, but the guy falls down and starts doing a spazz dance so utterly convincing you begin to worry about him. Then the girls starts screaming and it seems as though something is really profoundly wrong. And it is. But it’s not like they’re in any kind of trouble. They’re just wrong, y’know? So savagely wrong from every angle that it’s really tough to imagine there’s anything you could do to really help them. As if they’d even want in. In their masks or out, they sow confusion like wheat.” — Byron Coley

Chocolate Monk

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Carlos Giffoni“Spiral Of Rest”Previously unreleased (No Fun)

Carlos Giffoni is a Venezuelan electronic musician who has lived in the New York City area since 2000. Performing on modular synthesizers and hand made custom instruments, he uses various types of analogue and digital synthesis techniques to compose electronic music pieces and improvise live with local and international musicians. His recent solo work has focused in live performance on electronic music that creates both a physical experience as well as an emotional one while pushing for a new balance between a completely infinite abstract sound world and what is accepted by most people as ‘music’. Other active projects include No Fun Acid and Death Unit.

Carlos is a major figure in the US and international experimental music scene, performing live in New York and in a number of tours and festivals in the US, South America, Europe and Japan. He is the curator of the No Fun Fest, an international event that has been taking place in Brooklyn since 2004 and that now has extended to include events around the world, including a 2009 edition in Sweden and other upcoming editions in European cities in 2010. Carlos also runs the No Fun Productions label.

Recent live and recording collaborations include work with Jim O’Rourke, Thurston Moore, Lee Ranaldo, Nels Cline, Chris Corsano, Peter Rehberg, Smegma, Yasunao Tone, Emeralds, Gert-Jan Prins, John Duncan, Rudolf E.ber, Lasse Marhaug, Z Karkowski, Merzbow, Astro and many others.

Carlos holds an MFA in Design and Technology from Parsons School of Design.

Carlos Giffoni

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03

The Haxan Cloak“Burning Torches Of Despair”Previously unreleased

The Haxan Cloak is 23 year old London-based musician Bobby Krlic. He has released several CD-R EPs, all sold at live shows and currently out of print, bar one being distributed exclusively by the Aurora Borealis label. He has played live with Matthew Bower, Prurient, Cold Cave, Neil Campbell and others. He has collaborated with Sub Rosa artist Mikhail Karikis, resulting in a remix appearing on Karikis’s 2009 release, Morphica. He also works as a composer, and recently composed an exclusive piece for the Victoria & Albert Museum as part of London Fashion Week.

His debut album will be released by Aurora Borealis in January/February 2010. It will feature collaborations with Mikhail Karikis, Liam Sparkes (Trencher) and Finn McNicholas (Ultre, Everybody Is Going To Die). It will be released on 2x LP/CD.

Krlic studied Music and Visual Arts at the University of Brighton.

The Haxan Cloak on MySpaceAurora Borealis

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Mazen Kerbaj & Sharif Sehnaoui“Reductionism”Previously unreleased (Al Maslakh)

Mazen Kerbaj (trumpet) and Sharif Sehnaoui (guitar) started playing music together in Beirut in 1997. Besides their long lasting duo, they are involved in other collaborative projects, such as The A Trio with double bass player Raed Yassin, and The Oriental Space Quartet with Franz Hautzinger and Helge Hinteregger.

In 2000 they created the MILL association for the promotion of free improvised music in Lebanon, and in 2001 they launched Irtijal, the first and only experimental music festival in the region. In 2004 they joined forces again for the creation of Al Maslakh (The Slaughterhouse), a label solely dedicated to improvisation and sonic experiments from Lebanon. Al Maslakh will soon reveal its sister label, Johnny Kafta’s Kids Menu, dedicated to experimental rock.

Al MaslakhIrtijalMazen Kerbaj

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Leyland Kirby“An Obsession With Beautiful Losers”Previously unreleased (History Always Favours The Winners)

“I wanted to be a bumble bee when I was a child.”

History Always Favours The Winners

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Leisure High“Into Quito”Previously unreleased

Leisure High is an all-time obsession for all times. Group members: Blevin Blectum (Blectum From Blechdom) and Eugene S Robinson (Oxbow). Current location: Bi-Coastal, USA.

Famously known as one half of the recently reformed and reunited groundbreaking digital duo Blectum From Blechdom, recipients of the 2001 Ars Electronica Award of Distinction in Digital Musics, Blevin Blectum’s Gular Flutter was one of The Wire’s top 15 electronica records of 2008.

Infamously known as one quarter of the dionysian quartet Oxbow, whose 2007 The Narcotic Story earned a Grammy Best Producer nomination, Eugene S Robinson sings.

Leisure High, an extendedly louche product of burnt orange, menthol and brushed metal, summers in Portugal, winters in Gstadd and lounges just about everywhere it can.

“Into Quito” was written and produced by Bevin Kelley/Blevin Blectum and Eugene S Robinson. It was mastered by Thomas Dimuzio at Gench Studios in San Francisco.

Lyrics:

One Two Three (x5)

And the cigarette holderthat makes you wonder

about the 1 2 3 note sambawith the thrust anda 2 score mustand a bar with a tabas long as your... arm

They know us around herethat much... is clearis totally clear

so take the transportinto Quitobring the netting, the oilsand something for the mosquitos

And the quinine is great this yearthe quinine is just great this year

Blevin BlectumEugene S Robinson

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Mattin“A Necessary Condition To Participate In The Wire's Below The Radar Series”Previously unreleased

Devour Your Limitations!In any given situation your scope of action is determined by

specific contextual restrictions. These restrictions are very likely to be historically produced, serving certain interests. As somebody who works with noise and improvisation and often makes records (more often than not collectively), I find myself wondering what are the conceptual and ideological limitations regarding making records? This can not be answered without dealing with issues of intellectual property and what this implies: authorship, clear definition of what is the work and what is not, and the separation between producer and consumer.

Intellectual property has grown hand in hand with capitalism as a way of commodifying the intangible, the indefinable, the elusive... as a way of taming culture in order to frame it, make it stable and to be able to give it a value. Any classification or categorisation works as a way of achieving mastery and social control. But when I think of improvisation I think of it as elusive liquidity, in Duchamp’s and Bergson’s lingo, as a matter of ‘passages’ rather than ‘stoppages’.

In an improvised concert situation, one throws a sound without knowing what other people will do with it. One of course is aware of the people that one is playing with but basically one is open to anything. Why should it be different

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when one makes a record?Somebody mentioned the word plagiarism but this is

nothing but a capitalist fallacy. As the Comte de Lautréamont said, plagiarism is necessary. Whenever one person takes something and uses it in another context, there is always a level of creativity going on. I do not want to make hierarchies between different levels of creativity. I have invented nothing. All I have done is take from somewhere else, and to think of this as theft is simply applying the logic of the police, which basically is what the notion of authorship does.

Noise is the asshole of culture where everything is possible, is about lack of respect, not only of previous ways of music making, but also lack of respect regarding the context that you are working with and the different ways that this context might try to normalise or tame the potential of this practice and your own creativity.

Anti-copyright. Mattin, 2009

Mattin

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MV & EE with Willie Lane“Twitchin’”From Wiz Wid (Heroine Celestial Agriculture)

howdy lunar listenersthis is a live trio flight thru of our jam “twitchin’”, unit of

yrs truly, erika and willie lane recorded at brooke’s juke joint in philadelphia on 9/17/09. i love doing shows down in the liberty city, it was always one of my fave spots to hit during the tower recordings journeys and it remains to this day one of mv & ee’s highly anticipated road trips. the presenters there are unparalleled and the house parties at brooke’s, also known as the espers compound, are paramount with hospitality and love like no other grail overfloweth. we’ve always stretched out and got into some serious environments when rollin’ there, here is a taste of what comes later in the show, an epic 33:24 jaunt thru “solar hill > cold rain” to close the set... get in touch if you wanna go deeper (thebummerroad@gmail.com). dig the orbit, we’ll see ya in the UK for february odyssey, be sure to have some mics in the tapers pit.

sustaining ∞mvmaximum arousal farm, vermont

MV & EE on MySpace

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Marina Rosenfeld“‘I love you man’”Previously unreleased

Marina Rosenfeld excerpted “‘I love you man’” for Below The Radar from a work in progress, loosely titled Spokesmodel, for electronic sounds and vocals, that made appearances in autumn 2009 in spaces as diverse as Catalonia’s MAPA festival, the T.I.T.O. turntablist gathering in Berlin, and in a chicken-coop-turned-Kunsthall in rural New York State, in an exhibition titled GuineaKunstraum, where she housed the audio in a pair of homemade loudspeakers, calling the work “Near Speakers (with Spokesmodel excerpt)”.

Marina Rosenfeld is a composer and artist based in New York. Her work has been widely commissioned by institutions in Europe and North America, including the Whitney Museum (Whitney Biennials 2002 and 2008), Stedelijk Museum, Tate Modern, The Kitchen, Creative Time, Artists Space and the Contemporary Jewish Museum San Francisco; and festivals including the Holland Festival, Donaueschingen, Ars Electronica, Wien Modern, Musikprotokoll, Pro Musica Nova, Maerz Musik and Mutek, among many others. She has created scores for the Merce Cunningham and Douglas Dunn dance companies and has collaborated with artists including Christian Marclay, Ikue Mori, Lee Ranaldo, DJ Olive, Anthony Coleman and George Lewis, with whom she will release a duo

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recording, Sour Mash, on Innova in 2010. Rosenfeld also has a new solo recording, Plastic Materials, on Australian label Room 40. Rosenfeld is also currently Artist in Residence at the Park Avenue Armory in New York, where a new sound installation, PA, was presented in November 2009, as part of the Performa Biennial.

Marina RosenfeldPark Avenue ArmoryRoom 40

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Skull Defekts & The Sons Of God“Received & Transmitted”Previously unreleased

“Received & Transmitted” was recorded by Leif Elggren, Joachim Nordwall, Kent Tankred and Henrik Rylander in Gothenburg 2008 at Studio Dental, which is located in the city’s Sahlgrenska hospital. The piece will eventually be released on LP on Important Records, while a second piece recorded at the same session will be released on CD by Utech Records in January 2010.

iDeal RecordingsSkull Defekts on MySpace

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Ishmael Wadada Leo Smith“For Grant Green”From Abbey Road Quartet (Treader)

The prepared compositions of John Coxon (guitar) combined with the uncompromising musical philosophies of Ishmael Wadada Leo Smith (trumpet) were the springboard for the unique, complex group improvisations that appear on the Abbey Road Quartet album. Pat Thomas (electronics and piano) and Mark Sanders (drums} complete the quartet.

Treader

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12

Gary War“Namaha” (Gary War Version)Previously unreleased (Care In The Community)

Gary War (born Phil Gone), currently based in New York City, began home-recording in the late 1990s and has since worked with various artists including Bobb Trimble, Kris ‘Trip’ Thompson, Infinity Window, Blank Dogs and others. Recent vinyl releases include the Horribles Parade LP (Sacred Bones), the “Galactic Citizens” 12’’ EP (Captured Tracks) and the New Raytheonport LP (SHDWPLY). 2010 will see the release of the “Reality Protest” 7” single and a new LP on Sacred Bones accompanied by a European tour in January.

This track is an exclusive interpretation by Gary War of Wight Light Orchestra’s “Namaha” from their forthcoming double album on Care In The Community. Listen to the original track by Wight Light Orchestra at the label’s MySpace page.

Gary War on MySpaceWight Light OrchestraCare In The Community

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Zavoloka vs Kotra“Micrmes Welt”From Revolt (Kvitnu)

Zavoloka alias Kateryna Zavoloka is a composer, sound artist, performer and graphic designer from Kyiv, Ukraine. As well as being involved in numerous international cross-genre projects, Zavoloka collaborates with Kotra, Mark Clifford, AGF and visual artist Laetitia Morais. In 2005 Zavoloka received an honorary mention in the Digital Music category of the Prix Ars Electronica.

Zavoloka’s concept is the processing of ancient spiritual Ukrainian music with digital and analogue synthesis and filters, unsteady natural rhythms, experiments with sampling of separate phrases, words, instruments, micro noises, crispy sound landscapes, warm melodies and harmonies, intensive varied sonic motions and unexpected combinations piped into carefully controlled electronic flows, unusual structure, diverse and complicated constructions. Producing more and more frank music that could reflect all momentary shades of feelings, emotions and freedom. Extractions and explorations of ancient knowledges and wisdom, expressed through modern digital art.

Zavoloka has performed her music live in different venues, concert halls, theatres, clubs and auditoriums throughout Europe and Asia in festivals such as Presences Electronique, INA-GRM (France), Club Transmediale (Germany), EME 07 (Portugal), Unsound (Poland), Mediaterrae (Italy), Hoerkunst (Germany), Interferenze (Italy), Kontra (Austria), Detali Zvuku

(Ukraine), Les Urbaines (Switzerland), Cimatics (Belgium), Minimax (Slovakia), Garage (Germany), La Nuit Bleue (France), Kontra-musik (Sweden), Femmes (Belgium), Kvitnu (Ukraine), AudioVisiva (Italy) and others.

Along with massive sound experiments and regular festival appearances Zavoloka takes care of all visual parts for the Kvitnu label.

ZavolokaKvitnu