When cyber-shamanism emerged in Japan in the 1980s, 3D sound recording technologies and brain machines were developed there to simulate the effects of hallucinogenic drugs. Henry Kawahara was at the centre of this movement.
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#236: Holger Hiller – Hosen, die nicht aneinander passen
In the early 1980s, a sampler cost as much as a mid-sized car and could record just six seconds of sound. Hamburg musician Holger Hiller rented such a device on a daily basis in order to leave common pop clichés behind.
#139: Max Mathews – Daisy Bell (Bicycle Built For Two)
Robotic vocoder voices in music were the symbol of an electronic future in the 1970s. The technology was already being used during the Second World War and was further developed in 1961 at Bell Labs in New Jersey, where computer music pioneer Max Mathews employed it to adapt a love song from 1892.
#155: Ursula K. Le Guin & Todd Barton – The Quail Song
In fantasy and science fiction novels, American author Ursula K. Le Guin has created futuristic scenarios – often linked to Native American motifs. Always Coming Home, published in 1985, describes the life of the fictional Kesh people. To make their world audible, Le Guin recorded several songs with composer Todd Barton.
#93: Jaap Blonk – Nonomotithur
Mystery and poetry come together in the works of Guy de Cointet. The visual artist understood language as a system in its own right – and he deconstructed it. Dutch voice artist Jaap Blonk, active himself at the intersection of music, poetry and performance, interpreted Cointet's work ‘Nonomotithur’ in 1997.