Tape to Mp3

Steven Wilson really is a workaholic. Apart from being the singer, guitar player and main songwriter for Porcupine Tree, he has several solo projects and collaborations with others going on. And he's also involved in producing and remixing the work of others. He never takes the easy road. Back in 1989 it wasn't an obvious choice to start a prog rock-psychedelic band, but he did and he managed to make a success out of it. Now it would be easy for him to harvest the success of Porcupine Tree, but instead he puts his energy in less successful side projects.
Bass Communion is his main solo project. It's the oldest one with the most releases, apart from I.E.M. that have been terminated and No-Man, which isn't really a solo project but a collaboration with Tim Bowness…

Although John Cage occasionally worked in large, sophisticated studios - for example, when he composed Fontana Mix in 1958 - his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc.
He developed a soundworld that was utterly new, radical and demanding. It heralded the age of the loudspeaker, mass communication and Marshall McLuhan's 'global village.' The hiss, crackle and hum of electronic circuits,
and the disembodied sounds, snatched by radio from the ether, spoke of the 20th century.

Jan Boerman - The Complete Tape Music (1998) {5CD Set Donemus CV NEAR 04-08 rec 1959-1997}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.42 Gb | MP3 @320 -> 750 Mb
Full Artwork @ 300 dpi (jpg) -> 157 Mb | 5% repair rar
© 1959-97, 1998 Donemus Composers' Voice / NEAR | CV-NEAR 04~08
Classical / Musique Concrète / Electronic / Electroacoustic Music / Experimental

Jan Boerman (born 30 June 1923) has been a composer working in electronic music studios since 1959. He was born in The Hague. The Delft Polytechnic in Utrecht, from which the Institute of Sonology was developed, housed the first electronic music studio in the Netherlands after the Philips laboratory in Eindhoven, which was not generally open to composers.

Jorma Kaukonen (later of Jefferson Airplane and Hot Tuna) met a singer named Janis Joplin at a hootenanny in San Jose, California, in the fall of 1962. Over the following years, Janis would call on Jorma to accompany her at gigs. As they continued to play together, the Bay Area was changing musically and developing into the legendary San Francisco scene to which both Janis and Jorma would be integral. During a rehearsal for a show in North Beach, Jorma started his reel-to-reel machine to capture what they were working on. For decades, this recording was the stuff of legend, with inferior, multi-generational transfers making their way through select collector’s circles. Now, for the very first time, it is available officially, with the blessing and cooperation of both the Janis Joplin Estate and Jorma Kaukonen.

Patty Griffin has long been one of folk and Americana music’s most celebrated songwriters, with a multi-decade discography that has influenced artists like Linda Ronstadt, Bette Midler, and Solomon Burke. With Tape, she revisits what is surely a vast archive of demos and ideas, pulling together 10 rarities for a collection that adds depth and context to her already acclaimed catalog. The tracks appropriately feel raw and lo-fi, offering listeners a truly intimate experience with one of songwriting’s brightest minds. Highlights include the hopeful “Get Lucky” and “One Day We Could,” which pairs a delightfully jangly acoustic guitar with Griffin’s otherworldly voice.

Jorma Kaukonen (later of Jefferson Airplane and Hot Tuna) met a singer named Janis Joplin at a hootenanny in San Jose, California, in the fall of 1962. Over the following years, Janis would call on Jorma to accompany her at gigs. As they continued to play together, the Bay Area was changing musically and developing into the legendary San Francisco scene to which both Janis and Jorma would be integral. During a rehearsal for a show in North Beach, Jorma started his reel-to-reel machine to capture what they were working on. For decades, this recording was the stuff of legend, with inferior, multi-generational transfers making their way through select collector’s circles. Now, for the very first time, it is available officially, with the blessing and cooperation of both the Janis Joplin Estate and Jorma Kaukonen.