‘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.
Then, Alial Straa was formed in 1994 by John Grzinich and Seth Nehil as a studio project involving Grzinich’s handmade amplified piano wire instruments and Nehil’s analogue tape treatments and instruments. The heart of Straa music is the topographical contour of an immense plain – a ‘balanced field’.
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’]