From the show's original listing on Resonance FM:

"This week on the Belsona Academy- Thomas Bey William Bailey plays himself. The inevitable evening of self-promotion has finally come to pass, as TBWB digs up a long-deleted 3" cd release from 2006, composed of 'raw data' translated into audio, slamming doors, and other eccentricities. This is the radio debut of his piece 'Datenschutz,' a highlight from a famously unknown repertoire of chaotic electronic flux." 

First broadcast on Resonance on April 9 of 2010. For more info on the piece played, navigate to the Dirty Demos d.i.y. label's website.

Music behind DJ (and post-set):

NON, 'Carnis Vale,' from the Mute LP "Physical Evidence" | Der Plan, 'Zurück in die Atmosphäre', from the Ata Tak LP "Normalette Surprise"

The original Resonance FM listing for this show read as follows:

"This week on the Belsona Academy: 'Viractual' Special with mixed media artist / art theorist Joseph Nechvatal, known for his past collaborations with Rhys Chatham ('XS: The Opera Opus'), Stephane Sikora ('The Computer Virus Project II') and much much more. Thomas Bey William Bailey reads from Nechvatal's book "Towards An Immersive Intelligence," and auditions part of his endlessly proliferating Viral Symphony. Bring your own wine."

Some vital facts on Joseph Nechvatal, from his site:

"Since 1986 Joseph Nechvatal has worked with ubiquitous electronic visual information, computers and computer-robotics. His computer-robotic assisted paintings and computer animations are shown regularly in galleries and museums throughout the world. From 1991-1993 he worked as artist-in-resident at the Louis Pasteur Atelier and the Saline Royale / Ledoux Foundation's computer lab in Arbois, France on The Computer Virus Project: an experiment with computer viruses as a creative stratagem. In 2002 he extended that artistic research into the field of viral artificial life through his collaboration with the programmer Stéphane Sikora.

 Dr. Nechvatal earned his Ph.D. in the philosophy of art and new technology at The Centre for Advanced Inquiry in the Interactive Arts (CAiiA) University of Wales College, Newport, UK where he served as conference coordinator for the 1st International CAiiA Research Conference entitled Consciousness Reframed: Art and Consciousness in the Post-Biological Era (July 1997); an international conference which looked at new developments in art, science, technology  and consciousness. Dr. Nechvatal presently teaches at the School of Visual Arts in New York City (SVA) and at Stevens Institute of Technology. He writes periodically on art and new technology. His latest book, Towards an Immersive Intelligence: Essays on the Work of Art in the Age of Computer Technology and Virtual Reality (1993-2006) has been published by Edgewise Press."

more available at www.nechvatal.net, of course.

Music behind DJ:

"OTOK" by Otomo Yoshihide, from the CreativeMan Disc CD 'Twins!' | "Mandala" by Merzbow + Christoph Heeman, from the Streamline CD 'Sleeper Awakes At The Edge Of The Abyss' | "Binaural Line" by Tetsu Inoue, from the (???) book + CD 'Unfinished Volume 2' |"Karyon / Sound Character" by Maryanne Amacher, from the Asphodel 3xCD "A Storm Of Drones" | "Jours Tranquilles Rodez" by Comelade / Bastien / Berrocal / Liebezeit, from Les Disques de L'acier et le Soleil CD 'Oblique Sessions'

Here's the 4th 'encore presentation' of the Belsona Academy currently being broadcast of London's Resonance FM.

This week on the Belsona Academy, T.B.W.B. sifts through the back catalog of Moscow's Electroshock Records and extracts a few gems from Sofia Gubaidalina, Antanas Jasenka, and Alexei Borisov. An eye-opening selection of sounds from a very overlooked hub of electronic music activity. Featuring the sounds of the Evgeni Murzin's legendary image-to-sound synthesizer, the ANS, as well as some much more characteristically 21st century recordings.

More information on these artists is available at www.electroshock.ru.

Music behind DJ:

"Troddin Version" by Rhythm & Sound, from the Burial Mix CD 'w/ The Versions' | "She Made It Big" by Services, from the Touch of Class CD 'Eat, Prey, Love'

Here's the second 'encore' podcast of this show's run on London's Resonance FM, which is currently boradcasting there at 22:00 GMT on Fridays. This week we return to the 'all-exclusive material, single artist' format for an exposition by Martins Rokis. Original listing appeared as follows:

"This week's installment of the Belsona Academy features a Resonance-exclusive mix of generative computer insanity from a new artist- Riga, Latvia's own Martins Rokis. Sounding at times like the soundtrack to some future documentary film on revolting nano-bots, Rokis' work drips with a unique absurdist humour and has a kind of holographic presence. Recommended for those with strong speaker systems."

See also www.martinsrokis.com

In case you don't know yet, the Belsona Academy has moved to a new home on Resonance FM, London, where it now broadcasts on Fridays at 22:00 GMT. However, since Resonance doesn't archive this particular show as a podcast, I am putting episodes up online as 'encore presentations' from now until April. Here is the first of those. It was listed on Resonance's site as such:

"The Belsona Academy is Thomas Bey William Bailey's laboratory for psycho-acoustic, schizophonic, and otherwise category-defying electronic music- beginning its 2nd season (its first on Resonance FM) this week. Feeling 'bookish' this week, TBWB's first set of music comes courtesy of the companion CDs included with a selection of rare music books- rarely-heard gems from Oren Ambarchi + Matthias Gmachl, Zbigniew Karkowski + Daniel Buess, Consumer Electronics and Yasunao Tone all feature on this episode."

With the decade at an end, it seemed like an appropriate time to release a stop-gap special before we start season 2 of Belsona Academy for 2010.

All the reccordings in this exclusive mix were culled from releases issued over the past 10 years (including one reissue of a 1995 record, sorry for cheating.) Through a bracing mixture of pure sonic blast and inescapable silences, I hoped to put together a special mix which would help to symbolically put this decade behind us- a decade which did, after all, bring us (among its other nightmares) the return of torture in the world's leading democracy as a "reasonable" method for furthering "human rights."

As such, this episode is dedicated to all the victims of State-sponsored torture throughout the past decade, as well as to those who have publicly condemned this practice at their own risk.

WARNING: high-volume playback throughout this program may damage speaker components and hearing, please approach with due caution. Listener discretion is likewise advised for the faint-hearted.

Setlist

intro: Prof. John Gray on torture in the 21st century | Graham Moore + Z'ev: title 2 from the Shark Bite Tapes LP 'Mezzo' | Pita: Track 2 from the Moikai LP 'Get Out'| Whitehouse: "Execution" from the Susan Lawly / Very Friendly LP 'Quality Time' | Junko + Mattin: excerpt from "Too Late", from the self-titled Tochnit Aleph LP | Joke Lanz: "Sister (My)" from the Blossoming Noise LP 'Liederliches und Nichtiges von Joke Lanz + Rudolf Eb.Er' | Satanstornade: 'Testicular Fortitude (Edit)' from the self-titled Warp LP | Russell Haswell: 'FOG Micromedley' from the Tochnit Aleph compilation CD "The End Of The Fear Of God" | Scott Arford: "60 La Scala" from the 'Micro Bionic' book's companion CD | Ami Yoshida + Christof Kurzmann: "Untitled 6" from the Erstwhile CD 'A S O' | M. Behrens: "Dialectic" from the Oblast CD-R 'Kosovo Requiem' |  BJ Nilsen + Joachim Nordwall: Side A of the Ideal 7" "Death Dub" | EVOL: "10" from the Fals.ch data CD 'Falsch 01' | RLW- "Atmosphäre" from the Table Of The Elements CD 'Pullover' | Hecker: "In Actu (Create 7.1 Edit)" from the Rephlex CD 'Recordings For Rephlex' | Daniel Menche: Track 1 from the Blossoming Noise CD 'Flaming Tongues' | Prof. John Gray outro

NOTE: being that these tracks are presented in incomplete form (regularly overlapping each other) and have been compressed as MP3 for this program, all attempts should be made to locate and buy original versions from the artists. Thank you!

"In dreams, I talk with you..." The first season finale of The Belsona Academy features -"just in time for Halloween"- the eerie and singular, electronically-modified speech of Bryan Lewis Saunders while zooming in and out of sleep. One of the latest entries in the sparsely populated audio field of somniloquy (sleep-talking), Brian's previously unreleased "Animus Chora" fits smoothly into the rest of his sound-text work as a "standup tragedy" artist. An illuminating, possibly uncomfortable window into the world of an artist who is now in the thick of collaborations with Z'ev, Lydia Lunch and others.

for more information, see: www.bryanlewissaunders.org

[music behind DJ: CroMagnon, "Toth Scribe I" from the ESP CD 'Orgasm' /

Kemialliset Ystävät, "Kuuma Tomu" from the Fonal Records CD 'Kellari Juniversumi' /

Roy Orbison, "In Dreams," from the similarly-titled Sony/Monument CD/

Coil vs. ElPH, "Ended," from the Eskaton CD 'Worship the Glitch']

ANIMUS CHORA: Spirit Receptacle (Unreleased) | Bryan Lewis Saunders ©2009

Running time: 36:44
All vocals recorded while in and out of sleep.
All music created from sounds recorded during sleep, except for the frequency tones on track 1.
The white noise on track 3 was used as a sleeping aid to drown out arguing neighbors. The
music on track 5 is manipulated TV static.
Produced and mixed by Bryan Lewis Saunders.
www.bryanlewissaunders.org

Having been informed that he didn't win the Nobel Peace Prize,
Thomas Bey William Bailey throws a temper tantrum and locks himself in the Belsona control room with a stack of his favorite LPs and CDs, unleashing them on an unsuspecting audience. Yes, here T.B.W.B. tries his hand at a "free-form radio"-style DJ set. A full hour of classics and obscurities from the more mind-melting and hypnotizing end of the musical spectrum...whispers, screams, hums, roars, implosions and explosions galore for this special extended session. Keep an eye on your speakers, and do not listen while driving or operating heavy machinery.

Set list:

Venom, "Live At City Gardens" single | Porter Waggoner, "The Rubber Room", from 'Out Of The Silence Came A Song' | Big Black, "Cables (Live)" from 'Atomizer' | The Sonic Youth, "Burning Spear" from self-titled EP | UR, "Imperialism Of The Future" from 'Recommended Records Quarterly, Vol. 2 No. 1'compilation | Mark Stewart & Maffia, "None Dare Call It Conspiracy" from 'Learning To Cope With Cowardice' | Main, "Spectra Decay" from 'Motion Pool' | Black Light District, "Stoned Circular II" from 'A Thousand Lights In A Darkened Room' | Christine Shields, "The World Is My Home" from 'Bananafish Magazine #14'compilation | Thomas Köner & TT Wip, "Mesurait La Force," from 'Modulations & Transformations 4' compilation | Cotton Ferox, "Deep Is The Night, Fe-Mail Plastic & Silver Remix," from Defragmental' | Zbigniew Karkowski, "I Fell In Love..." from 'This Infernal Love of Live' compilation |

...B.A. returns to its regular 'featured artist' format (and for its mid-season finale) next week!

‘It’s the little things that count’, on this episode of the Belsona Academy: all selections for this show come from our illustrious DJ’s cache of 3” mini-CDs and ‘business card’ CDs. Maja Ratkje’s piece “Help”, a ‘limited edition of one’ business card CD originally designed for T.B.W.B.’s “Meishi Music” exhibit, makes its broadcast debut on this episode, while the other pieces –from Seth Nehil, Kozo Inada, and The Haters- are long-gone from the sale shelves, yet still deserving of a fresh listen. Join us for a full-spectrum mash-up of seductive silences, silvery drones, teeth-rattling noise bursts and 3-dimensional auditory hallucinations. And, of course, for Bailey’s comically bad pronunciation skills and stylized psychosis. The set list is comprised of:

Maja Ratkje- “Help” business-card CD (previously unreleased)

Maja Ratkje is a rare breed of composer, who, despite enormous successes in her native Norway and beyond […] is still expanding her sonic territories and having as much fun as possible along the way.

Besides her solo work, she’s a member of the anarchistic female improv quartet SPUNK and the Fe-Mail duo with fellow SPUNKer Hild Sofie Tafjord, and she’s racked up an impressive list of collaborations with the likes of Merzbow, Zbigniew Karkowski, Sachiko M. and fellow Norwegians Jazkamer, as well as teaching composition at the Norwegian University of Science and Technology. Unsurprisingly, she hardly ever takes holidays and doesn’t have a TV. “It’s the worst form of brainwashing in our time,” she spits. (from The Wire issue 229)

See also www.ratkje.com

Kozo Inada- track 1 from “A []” mini-CD, released on Staalplaat, 2000

See www.kozoinada.com for details

Seth Nehil- excerpt from “Uva” mini-CD, released on 20City, 2001

“Seth Nehil (b. 1973) is an american visual, performance and sound artist. He started to work with sound around 1990 using found objects and instruments, old records, reel-to-reel machines, discarded magnetic tape and other detritus.

He also worked with N D magazine from 1995-2000 as a writer and artistic contributor. He received a BA in studio art from the University of Texas at Austin in 1998 and now resides in Portland, Oregon where he works as a teacher’s assistant in a Montessori elementary classroom. He currently continues collaborations with John Grzinich, Olivia Block and Michael Northam in sound, performance and organization.”

See also http://sethnehil.artdocuments.org

The Haters: random-shuffled selections from “Hearing Mud Dry,” released on V2 Archief, 1997

“While I don’t remember the precise wording, I recall Jupitter-Larsen saying something to the effect that he was more concerned with changing his own mind than with changing those of others: a hallmark of the chaotic operative in an ordered society that relies on total consistency of ideology and looks upon sudden revelations and ‘changes of heart’ as being insincere attempts to ‘hide’ something or to evade criticism. In a 1994 interview with the magazine ND, though, he reveals that he could care less about such societal evaluation of his activities, stating that “society isn’t the only game in town; so human experience shouldn’t be limited to it. Just because I’m at a concert doesn’t mean I’m a member of a band, or the audience for that matter.” Also claiming to be from “nowhere in particular” in the same piece, he conjures up images of the pre-societal nomad that has existed in smaller and smaller numbers since the dawn of the agrarian revolution. While his noise works, especially during the 1990s, have capably placed him at the forefront of that field, his highly conceptual performances, involving activities like “watching mud dry” or watching television in front of a separate group of spectators, solidify his status as a kind of internal nomad as well: following personal whims wherever they may lead, and without any explicit invitation for others to draw the same conclusions or even to follow in the first place.”

-excerpt from Thomas Bey William Bailey’s work-in-progress “Unofficial Release”

see also www.jupitter-larsen.com

[music behind DJ:

“Cherokee” by Tommy Gumina, from the Decca LP ‘Hi-Fi Accordion’/

“The Minotaur” by Dick Hyman, from the ABC/Command LP ‘MOOG: The Electric Eclectics of Dick Hyman’]

Please welcome to the Academy Michael Esposito, who brings us the as-of-yet unreleased 'John Mouat Lumbermill Tests' for this episode, one in his new series of 'Period-Specific Frequencies' intended to literally invoke the spirits of past epochs and locations. Operating under the Phantom Airwaves banner, Michael is currently one of the foremost recorders of paranormal phenomena. From his official biography:

Michael Esposito was born 1964 in Gary, Indiana. He is an experimental artist and researcher in Electronic Voice Phenomena (EVP). An ancestor of Alfred Vail, who invented the Morse Code and several early telegraph devices with his partner Samuel Morse. Another ancestor, Jonathan Harned Vail was office manager and assistant to Thomas Edison in his later years when Edison was attempting to develop a device to communicate with the dead. Michael studied communication theory at Purdue University, University of Notre Dame, American University in Cairo, Egypt and Governor's State University.

...and numerous television, radio and newspaper features.
Working extensively with EVP's relationship to experimental music, Michael combines EVP with field recording and related frequency tones of research sites to provide an audio-archeological picture of both sides of the veil.

see also: www.fireworkeditionrecords.com

++++++++

[show intro: William Bennett on 'Fresh Air radio, 2006/

music behind DJ: "Track 3" by Incapacitants, from the Trost Records CD 'Mottomo Otomo'/

"Prologue To Summer" and "So Soft" by Masayuki Takanayagi Quintet, from the Simon Pure LP 'Flower Girl'/

"Ich Bin Von Kopf Zu Fuss Aus Liebe Eingestellt" by William S. Burroughs, from the Island Records CD 'Dead City Radio']

The Stockholm sound art scene, in all its singular glory, is the focus for episode #8 of The Belsona Academy. From turntable meltdowns to glow-in-the-dark electronics to skewed humor, this all-too-brief showcase features some of the more interesting exponents of a creative milieu that has been thriving at least since the foundation of the Fylkingen organization over 70 years ago. Here are the track selections for this episode, and some corresponding information:

Sten Hanson, ‘My Galloping Heart’ (b-side)- 7” single on Fylkingen Records, 2002

“On the night between the 1st and 2nd of April 2001, after a period of increasing fatigue, feebleness and shortness of breath, I understood that the reason must be bad function of the heart. I felt dizzy and my heart was beating irregularly, fast and hard. I took a taxi to the hospital emergency room. I was in a hospital bed for one week and felt my body slowly lose all its reserve power, while the heart was beating two or three times faster than normal. Numerous medications were administered but none restored a normal heart rate. Normal heart rate was finally restored through electric shock treatment. Several ultrasonic heart examinations were performed, and they were all recorded on video. I managed to obtain a copy of those videos. The sounds from them are, with the exception of the final electronic choir, the only sources of the sounds in this composition, which tries to depisct the positive and negative experience of how fragile man can be and yet how strong the will to live really is. The composition is dedicated to the chief physician Inger Axelsson M.D. and her staff at the cardiology unit at the SÖS hospital, Stockholm.”

See also www.fylkingen.se

Leif Elggren and Thomas Liljenberg, “Did It Taste Good? / Opera 3” from C*** 69, Firework Edition, 2007

“In connection with a show we did in Kassel in 1996, we met a German artist in a bar, we were all in high spirits and the conversation flowed back and forth and finally landed in a long conversation about Charles Bukowski. It turned out that the artist lived near the bar and we went with him to his place to continue the party. Our German friend told us that he had met Bukowski at a party and that Bukowski had given him the manuscript of a collection of poems. ‘These are my last poems and you are the one who is going to publish them!’ Bukowski had said. The story sounded incredible, but our new friend pulled out a pile of paper, worn and torn, spotted and dirty. It was a collection of poems written on an old typewriter. The manuscript was also signed with Bukowski’s name.

The party continued and in the early hours we left with the manuscript tucked away in a pocket and an idea that sometime in the future we would be able to publish it. Now is the time: these poems by Charles Bukowski are probably the last he wrote. The worn-out artist has radically minimized his expression, and yet retained his characteristic voice of form and address.”

-Leif Elggren / Thomas Liljenberg, Stockholm, May 4 2001
see also www.fireworkedition.com

Selections from ‘Sounds 99’ 3xCD compilation on Blue Tower Records, 2000

“Power Painting” by Rockout (Henry Moore Selder on turntable, Niklas Korssell on drums)

“Den Röda Duken” by Mats Lindström and Sören Runolf (both live electronics)

All recorded at a 4-day festival at Fylkingen, Stockholm, from October 7-10 1999- organized by ‘FRIM’ production group (Dror Feiler, Mats Gustafsson, Kjell Nordeson and David Stackenäs)

See also www.frim.se and www.mic.stim.se

++++++++
[music behind DJ: “Sporen” by Fetisch Park, from the Extreme CD ‘Sporen / Binumb’ /

“I Don’t Want To Have Easy Listening Nightmares” by Nurse with Wound, from the Dutro 12” ‘Alice the Goon’/

“Cleanliness and Order” by NON, from the Mute Records CD ‘Easy Listening for Iron Youth’]

Join us on this week's Belsona Academy for a journey into Human Greed's heart of darkness (and into other much more nuanced and indescribable states of being, as well.) Courtesy of Michael Begg, we have an HG exclusive to this show entitled "Introduction to Fortress Longing: The Interior Campaign for the Safe and Complete Return of the Sleeping Egyptian to the Desert." Building upon a psycho-ambient repertoire that has earned HG comparisons to Arvo Pärt, Henryk Górecki and other purveyors of lush emotionality, this new piece is Begg's first recorded narrative in 10 odd years. In it, he deals with an illuminating moment of confrontation with death, and the singular after-effects.

For more satisfyingly in-depth information on Human Greed, please try either of these links:
http://www.omnempathy.com/greed.asp
http://adverse-effect.blogspot.com/2009/05/fine-arts-of-language-and-sound.html

[Music behind DJ: Fennesz "Track 1" from the 3"CD 'Live at Synaesthesia 1.2.00', on Synaesthesia Records/

Jesse Crawford, "Indian Love Call" from the LP 'Pipe Organ Magic' on RCA Camden Records/

Miyako Harumi, "Sayonara Ressha" from the 7" single on Nippon Columbia]

Two different artists from different sectors of the lush Japanese underground feature on this week's show. First up is 'Improvised Music From Japan' stalwart Utah Kawasaki (also of Astro Twin with Ami Yoshida)- several pieces from his rare UMU 3" CD, 'Songs I Played,' display his propensity for evocative and strangely resonating "broken music." (For more on Kawasaki, see www.japanimprov.com/ukawasaki/index.html).

A 2002 live performance from the venerable sound sculptor and bionic noise merchant Akifumi Nakajima, a.k.a. Aube, also figures into the show, and marks the beginning of Nakajima's surprising transition into more 'kosmische' electronic music- an interesting deviation for those more familiar with Aube's well-known forays into 'single source' recordings. (For some fairly recent Aube updates, see http://homepage.mac.com/gross3/GRLIST/.)

[Music behind DJ: "Et Toutes Ces Choses" by Rouge Rouge featuring Karin Vaird, from the Pschent Music CD 'Hotel Costes Vol. 9'/

"Makeup" by Sun Ra, from the Saturn LP 'Fireside Chat With Lucifer'/

"Solitude" by NON, from the Mute CD "Terra Incognita: Ambient Works 1975-present"

This week on the Belsona Academy, Lee Gamble of the CYRK collective (www.cyrk.org) presents an exclusive mega-mix shaped from a dazzling array of computer music techniques- a veritable funhouse of timbre and spectral dynamics, and not a factory preset in sight. As a test run for his upcoming Entr'acte CD 'Join Extensions', this piece shows promise for that disc to continue the exciting trend of 21st century computer music and digital synthesis: that is to say, music which has escaped from its ivory tower imprisonment and is now free once again to act as a physical AND intellectual force.

[music behind DJ: intro from 'Drugs' episode of 'Brass Eye' /

Pan Sonic, "Arctic" from the Mute/Blast First CD set 'Kesto'/

Station Rose, "A Fistful Of Acid" from the Crippled D*** Hot Wax CD 'Chansons des Perverts']

This installment of The Belsona Academy showcases new electro-acoustic intensities from not one, but two, different composers: Natasha Roberts (now studying in Leicester) and Ishigami Kazuya (based in Habikino City, on the outskirts of Osaka.)

Both the pieces on display manifest the 'intimate' side of this music; using highly personal life experience as the foundation for highly abstract, yet deeply communicative, electronics.

Roberts' piece is exclusive to this episode, while the Ishigami piece comes from his new self-released compilation "Trash, Rubbish, Poor Works."

[music behind DJ: "Wonderful" by Klein & MBO from the IRMA CD "I-Robots: Italo Electro Disco Underground Classics" /

"In Die Zukunft" by Asmus Tietchens, from the Sky LP "Biotop" /

"Little P." by Groenland Orchester, from the Flenix CD "Psykoscifipoppia"]