T.A.O.N.(the army of noises) Live @ the Art of Noises festival,Tilburg, the Netherlands

• published: 19 Dec 2014
• views: 8

Danny Wieggers: Poly Flange Flanger, Electric Mistress Flanger-filter-matrix, RE501 Tapedelay, Hot Tubes Overdrive, Memoryman Delay, No input mixer, HL-822 Lesley. Frank Crijns, Flat Es135 Guitar abuse, CS-2 Compressor, SD-2 Dual Fuzz Pedal , 2 Whammy Pedals, Black 65 Overdrive Pedal , FV-50 Volume Pedal, Jamman loop Machine , Headrush E1 loop Machine ,Devices, 2 E- bows, Champ Amp. Recorded live during the Art of Noises festival, April 20 2014 @Monopole Langestraat 13 Tilburg, Holland. Jeroen van Eijl: Cameras. Frank Crijns, Danny Wieggers: AudioVideo edits. Danny Wieggers: Audio production, mastering and FCP abuse. Futurist music rejected tradition and introduced experimental sounds inspired by machinery, and would influence several 20th century composers. Francesco Balilla Pratella joined the Futurist movement in 1910 and wrote a Manifesto of Futurist Musicians in which he appealed to the young (as had Marinetti), because only they could understand what he had to say. According to Pratella, Italian music was inferior to music abroad. He praised the "sublime genius" of Wagner and saw some value in the work of other contemporary composers, for example Richard Strauss, Elgar ,Mussorgsky, and Sibelius. By contrast, the Italian symphony was dominated by opera in an "absurd and anti-musical form". The conservatories was said to encourage backwardness and mediocrity. The publishers perpetuated mediocrity and the domination of music by the "rickety and vulgar" operas of Puccini and Umberto Giordano. The only Italian Pratella could praise was his teacher Pietro Mascagni, because he had rebelled against the publishers and attempted innovation in opera, but even Mascagni was too traditional for Pratella's tastes. In the face of this mediocrity and conservatism, Pratella unfurled "the red flag of Futurism, calling to its flaming symbol such young composers as have hearts to love and fight, minds to conceive, and brows free of cowardice." Luigi Russolo (1885–1947) wrote The Art of Noises (1913), an influential text in 20th-century musical aesthetics. Russolo used instruments he called intonarumori, which were acoustic noise generators that permitted the performer to create and control the dynamics and pitch of several different types of noises. Russolo and Marinetti gave the first concert of Futurist music, complete with intonarumori, in 1914. However they were prevented from performing in many major European cities by the outbreak of war. After studying both manifesto's Crijns and Wieggers put together an improvised performance with guitar and analog electronic effects with amp and lesley speaker based on and inspired by futurist philosophies. Futurism was one of several 20th century movements in art music that paid homage to, included or imitated machines. Feruccio Busoni has been seen as anticipating some Futurist ideas, though he remained wedded to tradition. Russolo's Intonarumori influenced Stravinsky, Arthur Honegger, George Antheil, Edgar Varèse, Karlheinz Stockhausen and John Cage. In Pacific 231, Honegger imitated the sound of a steam locomotive. There are also Futurist elements in Prokofiev's The Steel Step and in his Second Symphony. Most notable in this respect, however, is the American George Antheil. His fascination with machinery is evident in his Airplane Sonata, Death of the Machines, and the 30-minute Ballet Mécanique. The Ballet Mécanique was originally intended to accompany an experimental film by Fernand Léger, but the musical score is twice the length of the film and now stands alone. The score calls for a percussion ensemble consisting of three xylophones, four bass drums, a tam-tam, three airplane propellers, seven electric bells, a siren, two "live pianists", and sixteen synchronized player pianos. Antheil's piece was the first to synchronize machines with human players and to exploit the difference between what machines and humans can play. Other composers offered more melodic variants of Futurist music, notably Franco Casavola, who was active with the movement at the invitation of Marinetti between 1924 and 1927, and Arthur-Vincent Lourié, the first Russian Futurist musician, and a signatory of the St Petersburg Futurist Manifesto in 1914. His five Synthèses offer a form of dodecaphony, while formes en l'air was dedicated to Picasso and is a Cubo-Futurist concept. Born in the Ukraine and raised in New York, Leo Ornstein gave his first recital of 'Futurist Music' at the Steinway Hall in London on 27 March 1914. According to the Daily Sketch newspaper "one listened with considerable distress. Nothing so horrible as Mr Ornstein's music has been heard so far. Sufferers from complete deafness should attend the next recital.”