Meeting Off-Site presenta una selezione di lavori pubblicati su Spettro Records in licenza Creative Commons, oltre ad infatuazioni, fascinazioni e amori fugaci, incontri nati in rete e registrati sul campo, al di fuori di esso, all'interno e al contempo al di là del sito, non incontrandosi mai. Imperfetti, non finiti. Non suono nato off-site in una piccola galleria di Tokyo, ma suono nato dal sito stesso, che si è fatto rete, trama sodale.
Ogni episodio reca un nome importante per Spettro, come fu in Tweez degli Slint.
Meeting Off-Site presents a selection of works published for free on Spettro Records under the Creative Commons licence, but also of infatuations, fascinations, perturbations and fleeting loves, meetings born online and recorded on the field, but also outside of it, within and off site at the same time, never actually understanding each other. Imperfect, unfinished. Not a sound born off-site in some tiny Tokyo gallery, but sound from the site itself, turning into a network, a plot of equals.
Each episode is named after someone who's been an important part of Spettro's history, inspired by Slint's Tweez tracknames.
w/ Spettro Records
Rappresentante del nulla, utopia internettiana fallita in partenza. Iniziata nel 2010, Spettro è tuttora una delle netlabels più longeve della rete, pubblicando gratuitamente musica non convenzionale. Senza profitto, guagagno né pubblicità, priva di scena e di corpo, ambisce a un palcoscenico vuoto. Musica che nasce, e cresce, nella condivisione.
Citizen of nowhere, failed internet utopia.
Spettro Records was started in 2010. One of the longest standing netlabels of the post 2010s, Spettro releases unconventional music online for free.
No gain, no profit, no ads, no scene. No growth nor ambition. Just music meant to be shared.
- Sawako, Looped Labyrinth, Decayed Voice
- Telefon Tel Aviv, Nothing is worth losing that
- Hisato Higuchi, Borei
- Lorenz Dangel, Martin Pedersen, "Escape", from What will people say OST
- Sonic Youth, Contre le sexisme
- Tortoise, Along The Bank Of Rivers
- Jim O'Rourke - Fast Car (live In Japan, 9_16_2002, Tracy Chapman cover)
- Scanner, Elegy for Neal Cassady (feat. Allen Ginsberg) (from Alleng Ginsberg, the Fall of America, a 50th Anniversary Tribute)
- Toru Takemitsu, A Flock Descends Into the Pentagonal Garden (from A Flock Descends Into the Pentagonal Garden)
- Popol Vuh, Vuh (from In Der Garden Pharaos)
- Senyawa, Brønshøj 4 (from Brønshøj)
- Tortoise, The Taut Tame (Millions now living will never die)
- Kashiwa Daisuke, Beautiful Sunday (from 5 Dec)
- Lorenz Danger, Martin Pedersen, “Father Leaves” (from What will people say OST)
- sample from "American Movie" (1998, Chris Smith)
- Charles Bradley - Why Is It So Hard
- Marvin Gaye - What's Going On
- extract from "High-Risers: Cabrini-Green and the Fate of American Public Housing", by Ben Austen
- Sugar Ray Dinkie, Cabrini Green Rap
- Sufjan Stevens, Chicago
- S-town podcast, final letter
- Michael Kamen - An american symphony (Mr. Holland's Opus OST)
- Tia Carrere, Ballroom Blitz (Wayne’s World OST)
- SLP, For Mary
- Tortoise, Glass Museum
- Blues Brothers OST, Sweet home Chicago
- The Temptations, My Girl
- sample from "American Movie" (1998, Chris Smith) and music by Mike Schank
The Map Occludes The Territory
“The Map Occludes the Territory”
by Nicola Boari
“If you drew a map of them, showing their locations, what would the map look like?"
Philip K.Dick, “If You Find this World Bad, You Should See Some of the Others” Metz speech, 1977
“The Map Occludes the Territory” is a quote from Jon Kabat-Zinn’s Wikipedia page commenting is article “Some Reflections on the Origins of MBSR, Skillful Means, and the Trouble with Maps” published in Contemporary Buddhism Vol.12 N.1 May 2011. I couldn’t find the exact quote in the article but it anyway spoke to me in the clear and at the same time mystifying way a sudden realization emerging from a lucid dream feels the morning after. Gone but still somehow lingering, evaporating as any second passes, but still there in some obscure recess of consciousness.
Only later did I learn of the origin of that quote. “On Exactitude in Science”, a very short story of just half a page by Jorge Luis Borges, a fragment of a historical forgery, surviving the eternal unraveling of time, narrating a forgotten empire where maps were so detailed they would cover the entire vastness of the territory itself, only to then settle in the earth, ruins of a domain mapped as much as reigned, whose plot has transcended history and borders, affirming itself on soil, penetrating it, making it fertile to fiction, and sterile to life.
I’m updating this attempt to an explanation almost six months after its first draft. It already feels foreign to me, the roads I thought I had traveled, the trajectories I had so thoughtfully traced no longer lead to any known destinations. The map and the territory are now illegible, they speak the language of a cancelled childhood. Reading or listening to it doesn't make me feel anything, if not a bit of pity, gripped as I seem to be in a vice of pathetic biological, social and existential terror, and that usual aura of fake self-pity that is specific to me. I feel a certain vertigo for the almost total lack of correspondence between the me of then, and the me of now. The me of then is verisimilar, and yet other. Dragged down the rabbit hole, a term that I thought was relegated to my childhood, to the vision of Disney’s rendition of “Alice in Wonderland”, now resurfacing in the titles of countless content on Youtube inviting you to follow them further and further down, not before signing up to their channel of course, in the disturbing abyss of a superficial morbid nighttime interest. Deep down into what I learnt, thanks to a consumer product such as the film "Matrix”, to be a quote from Jean Baudrillard, "The territory no longer precedes the map, nor does it survive it. It is nevertheless the map that precedes the territory-precession of simulacra-that engenders the territory". I wonder by how many maps, lying on top of and to each other, the territory is covered, how deep the representation is, and if there has ever been a land at the bottom of all this, if it makes any sense to ask what and which is the false and the real, which the conspiracy and who the conspirators are, of what nature the limits of our seeing and feeling, whether the experience can only be partial and the Quest for a dock doomed since the very beginning.
I have no map, I wander this life aimlessly accumulating Question after Question, never to find any answer. No line’s ever been linear, the compass broken, the journey a catastrophe from the very beginning, no stars pointing home. There had been hope, love, expectations, but “midway upon the journey of our life I find myself within a forest dark for the straightforward path had been lost.” (Dante Alighieri, Inferno, Canto I). Any Italian student knows still opening quote and yet only now that I’m his same age I seem to understand it. Was there ever a true way, if not that which had been cast on me by others?
I’m confined to home, just as most people are, but saying that this “work” of mine is the result of the pandemic would be untrue. But I am home, I do have more time on my hands than in the past, and this is never a good thing for me, as my mind starts restlessly contorting around itself, breaking, tearing itself apart, thoughts deceive me, I hear voices whose nature I cannot trust, and the threat of the genetic plague that runs in my blood looms. I know what sickness looks like, I’ve seen it and spoken to it, and as it gets closer and closer my skin shivers, rots, it weighs down on me, forges my identity, but I still don’t fully know what it will feel like and what Ill become once it enters me, contaminating anything that I’ve ever been. I dread that moment, when I will be taken away from myself. Death is also now more present than we’d like it to be, with the tragic daily bulletin of the people who are no more, the imminent danger of infection, the sheer existence of the multitude is what makes even more dangerous. I fear death with my whole being, I’ve feared it since I’ve been, the thought of a before and after, the absence of an after, creation and destruction, the horror of not being, and most of all of not being enough in this here and now, of not having mattered.
Having more time sleep cycles have changed, habits have followed, the perception of time, dragging itself in an endless repetition of fear, anxiety, anger, indifference, depression, guilt, hopelessness, sudden elation, maniac states of ungrounded creativity, losing focus, realizing there was never any focus at all. I’ve read more and seen more, going back to things I thought were clear in the past but which clearly had never been, seeing them in a completely different shade and realising how little I know, and how little I know of myself and probably ever will. All this time and yet not enough, all this territory, unexplored, obscure, and to remain such. The middle ground, unbloomed.
Space, time, perception, knowledge, information, memory are the concepts that I’ve tried to deal with here. All of them confused, all of them feel urgent at once, failing to grasp anything is such a grandiose lack of focus and unmotivated burst of ambition. Working on it and saying, whether through sound or word which are actually the same thing here, what I thought I needed to conjure and ponder on felt of the uttermost importance. I have grown suspicious of such importance, I know the danger of such emotional ardor, it leads to deception, mania, to the ultimate loss of anything that really matters around me. As if thinking and telling deny the very experience of being. The more I seem to focus the blinder I am.
The impossibility of travelling and the depths inside us, the hopelessness of constantly feeling that there’s something missing, that everything is missing. Being yourself and the whole, sensing some connection and yet feeling none, swayed by the constant thinking, judging, planning, the present inextricably tied to the past, the future corroded, impossible to even consider if not in light of the past, as some sort of gravitational force that keeps dragging us down. Sleepless at night I try to fall asleep watching documentaries on the universe, on the origin of things, the fate of all things, and I grasp none of it. The vastity of what’s both above and inside of us, the unfathomable heat or cold, the still desolation of silence, the depths of eternity, weight and mass, matter, none of this makes any sense to me, it sickens me, and both my ignorance and my incapability of understanding any of this draw me to despair, to fear.
Any step we take a misstep or ridiculously minor. So much to be known and yet we know so little, but we think so highly of ourselves and our conquers and history which amount to nothing compared to deep geological time. It is not humbling, it’s sickening, it enrages me, it crushes every part of myself. I will contribute nothing towards what we proudly call progress, I’m part of the faceless multitude weighing the march down. I seek eternity through a tv screen and midi signals, unable to believe in any greater motive of plan, jealous of those who do have faith in something and receive light in the firmament above us. All I’m able to see is darkness and distance, a distance greater and greater the very same moment I seem to see something, unreachable by its very own nature, receding into spaceless infinity, so far away it might as well not even exist at all.
In a frenzied wake I stifle and go though countless internet entries, leafing through endless streams of information, none of which clarify anything, all of which cast more and more doubts around my very same questions. My quest for understanding is a deeply flawed one too: I accumulate words, quotes, unable to go beyond hoarding unintelligible data, in a state of constant fear arousal and suffocation. I absorb nothing, learn nothing, staring blankly, scrolling empty.
“The Map Occludes the Territory” is no answer but a broken attempt to somehow express all this both through words, told in a messy stream of spoken word read by both human voices (me, John Duncan and my mother) and by free online speech synthesis softwares in a variety of languages, and through sounds, with the use of a combination of field recordings, samples, shortwave signals and digital synthesis. I wanted the album to feel cold, artificial, with soulless voices failing at translating abstract concepts and sentences into broken foreign languages, and as the denser the words got the further away the translation departed. I avoided my own language, Italian, as it is how I express, or try to, deliberate thoughts, and this is not an articulate “work”, but a chaotic one. English is how I express feelings and emotions, my limited vocabulary bears weight, each word is charged with indivisible strings. Japanese as it speaks to me whilst I cannot speak it, another failure in a long list of half-assed attempts, yet the Orientalist gaze looks at the foreign ideograms and is fascinated by the symbols it cannot decipher, half asleep within a forest of signs, both fearful of the therein hidden knowledge and enamured by its potential delights, while at the same time imposing its own alphabet and pragmatism. A.I. provided translation fail as the words move away from English and into lesser represented languages. The machine is not yet ready, fallible, learning yet unreliable. As stars get fainter and fainter and distances unmeasurable, words lose all meaning, and any communication fails. This very same long “essay” is a broken attempt at explaining, explaining what is not clear, perhaps and intention, a longing or looking for some excuse or recognition. The message is unclear, flawed, ultimately no communication is possible.
Even the piano is sampled, and broken into random detuned note. The shortwave radio an online one, the sounds captured randomly. What is not artificial though are the words, which offered some sort of temporary relief and allow to remember and metabolizing such alien concepts through naming and vocalizing, characterizing them as part of my inner experience. The field recordings are all personal too, coming from various places from around the world: my hometown Bologna (Italy), Rablà (Italy), Penang (Malaysia), Tokyo (Japan), a glacier in Norway, captured since 2007 to today (2021). In my past “work” as SLP, アロキン and Salomè Lego Playset I had used samples taken from Youtube and the internet in general and treated them as found sounds, considering the digital realm as an extended field of experiences, but I chose here to exclusively use recordings from my own first hand experience as, going back to the theme of reaching middle age, I feel I’ve come to a point in which I’ve accumulated a sizable bulk of information about me and the world around me and have stored it, and the time has come to decipher what it all might mean. Some of this material ended up being corrupted beyond repair, and the question arose: did I remember it different or did the material itself become different? Is there any truth in what I remember, how has time distorted it, how has time come to corrupt and change data, and how will we store data in the future? What will we do with all this information we’re gathering, about ourselves and our experiences? Does it give us more worth as human beings because we’ve managed to somehow document our existences? Does it prove we have ever existed? Is digital data the gateway to immortality? How long will data exist, if of an existence, dematerialized and detached from life, we can talk about? I tried making sense of my own experience through its recollection of data with this “composition”, but again more questions arose, scattered, chaotic. This will speak in no way whatsoever to the listener, but it did to me, while making it. How will I remember it years from now?
The track goes through different motions, of quiet, silence, recollection, density, distortion and accretion, transformation between the composite and the individual, the artefact and the experiential. Ultimately, as my weak understanding of entropy would suggest, matter accumulates into mass and tangible things, collapsing, finally dissipating into heat death, a state of definitive equilibrium, of total distance and incommunicability, an all engulfing black silence. None of this I will experience, none of us will. “There was a long rumble of sound, and it seemed to him that he was falling down a vast and interminable stairway. And somewhere at the bottom he fell into darkness. That much he knew. He had fallen into darkness. And at the instant he knew, he ceased to know” (Martin Eden, Jack London). My late grandfather spoke to me about Martin Eden, yet I came around reading it in my 30s. In a creative writing class my grandmother wrote about staring at the hills outside of her house when she was a child, sick at home, her nose pressed against the window, and thinking that beyond that mountain there was nothing. We will never reach that bottomless stairway, our path ends just as it started.
Recently I’ve stared at again, but actually saw for the first time, “The Pillars of Creation” photograph by the Hubble Telescope, with its portrayal of the colossal gaseous tusks of the Eagle Nebula, 7,000 light years away. That formation might be no more, probably hasn’t been for incomprehensible amounts of time, but for us, and there is an “us” as a shared common territory and matter, experience and fate, such dust is still erupting an emerald cloud of awful beauty. “Attack ships on fire off the shoulder of Orion. C-beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time, like tears in rain” (Roy Batty in Blade Runner). Sights not meant for our eyes, yet we strive for them, cursed, unable to experience them, ever, if not in numbers, a language I do not understand. The quest for knowledge, unattainable, Promethean, bound for failure.
Hopelessly lying on the sofa, being told I’m fulfilling my duty as a citizen by doing nothing, I watched “The Terror”, “Interstellar”, “The Looming Towers”, “Childhood’s End”, “High Life”, “Uncut Gems”, the works of Jon Rafman, the documentaries of Werner Herzog, “The Anthropocene”, “Blade Runner”, “Dune”, “Ad Astra”, “The Conversation”, “Into Eternity”, “Chernobyl”, I attempted reading “The Denial of Death” by Ernest Becker, “Pereira Maintains” by Antonio Tabucchi, “Idoru” by William Gibson, the works of Jon Kabat-Zinn, wasting time yet crying over waste, telling myself my experience does matter, that this breath this moment this here is all I’ve got, yet the quest is gruelling and harsh, I fall and everything around me seems to follow as well.
The track goes nowhere, fading into silence, with a few final notes perhaps inspired by Shigeru Umebayashi’s “In the Mood for Love” theme and the sound of something being washed ashore, getting nearer, then farther, in open sea, dragged by invisible currents. The last moments of quiet, as the tempo slows down, into an even slower silence, stretched into filaments of unbearable speed.
All of this is a demonstration of how deeply flawed my own nature is, or maybe natura as whole, as I worry about impossible distances and incalculable time while neglecting those I love here and now, and the world around me is crumbling. I wish I were here, but I’m nowhere.
All of these musing I’ve done before, during, and after the composition was completed or even conceived. As offspring of no particular time. Incomplete, unanswered, partial, wrong, beyond recovery, unmapped.
released February 27, 2023
Attached is a lengthy "essay" on what this album meant to me at the time, and during the last 2 years, and with lyrics to this and to its sequel, "Agnosia".
CD coming some time in the future.
Mastering is by Fabio Iaci.
My mother reads a few lines from “Catcher in the Rye” by J.D. Salinger, a youthful read, read in a moment of fragile beauty.
I’ve asked my friend John Duncan to read the last part of the “poem”. His work with Max Springer “The Crackling” recorded at the Stanford Linear Accelerator Center has certainly been an influence, as is his work with shortwave radios which I’ve also used here.
Artwork by Akis Karanos
- Louis Ferdinand Céline, Viaggio al Termine della Notte
- Swans - Mother of the World
- Swans - I Was a Prisoner in Your Skull
- Nick Cave - Girl In Amber
- Asuna & Opitope - Cloud Shadow in the Night
- Ryuichi Sakamoto - 20220202
- Martha Argerich plays Chopin Polonaise N6 lheroique
- アロキン- 眠れないよ (from Il Sangue Cattivo)
- SLP - Kill Me Mothafuckar (extract, from Shithole)
- Peace of Bread, You Don't Know
- Zazen Boys, Himitsu Girl's Top Secret (from Himitsu Girl's Top Secret)
- Clean of Core, Pipe Line (from Spectacle)
- Cornelius, Surfing on Mind Wave, Pt. 2 (from Mellow Waves)
- New Music Now, Many Lights Are Seen, Many Voices Heard
- Yoko Miura, Ground Zero (from Cielo)
- Satoko Fuji Orchestra, Zee (from Zakopane)
- 打首獄門同好会 (Uchikubi Gokumon Doukoukai), I don't want to get out of the futon
- Radwimps - 2.02 Zenzenzense (movie ver., from Your Name OST)
- Qurage, ラヴレター (from Tokyo Long Letter)
- Tujiko Noriko, Narita made (from Tokyo to Niagara)
- FilFla, Learn (from Frame)
- Michael Andrews, When I call a name (Me and You and Everyone We Know OST)
- Dead Flowers, Mother Told me
- King Crimson, Moonchild (Buffalo 66 OST)
- Motorpsycho, Go to California (Phanerothyme)
- Rodan, Shiner (Rusty)
- Salomè Lego Playset, Humanity and Paper Balloons (So Much Was Lost in the Process of Becoming)
- Antibalas, Beaten Metal (Security)
- Mulatu Astatke, Yegelle Tezeta (Broken Flowers OST)
- Michael Andrews, Boy Moves the Sun (Me and You and Everyone We Know OST)
- Sonic Youth, The Diamond Sea (Washing Machine)
Playlist curated by Yama Yuki.
Yama Yuki is a Tokyo-based sound artist / composer / sound-assembler.
He focuses on the process and contexts of composing and sound-assembling as well as the composition itself. His works are published by Good Morning Tapes, Fort Evil Fruit, Golden Ratio Frequencies and so on. In addition, he has numerous collaborative projects and aliases such as odoma and sorta opalka.
- Jesus Weekend - ･ ~ ･ (Self-release)
- Tetsuya Nakayama - Posthole (enmossed)
- Deli Kuvveti - Symbolic (Fort Evil Fruit)
- Doltz - Hitotoki (YPY Remix) (Muzan Edition)
- Luurel Varas -Nocturn (Crash Symbols)
- Matthias Puech - Suspension (Hallow Ground)
- odoma - Chromatic Rituals (Neotantra)
- OZONE - Sky's Nite (Golden Ratio Frequencies)
- Masayuki Imanishi - Untitled 3 (Dasa tapes)
- Kate Carr - The Half Destroyed Instruments (Glistening Examples)
- Philip Sulidae - Cursed, nineteen ninety eight (from Curtilage) (Self-release)
- David Edren & H.Takahashi - Shift Register シフトレジスタ (Aguirre)
- Venetian Snares, The Hopeless Pursuit Of Remission (from My Downfall, soundtrack)
- Wolf Eyes, Stabbed in the Face (from Burned Mind)
- Add n to x, Metal fingers in my body (from Avant Hard)
- David Bowie, Little Wonder (from Earthling)
- Leftfield, Afrika Shox (from Rhythm and Stealth)
- Roni Size & Reprezent, Centre Of The Storm (feat. Zack De la Rocha) (from In the Mode)
- Goldie, Temper Temper (from Saturnz Return)
- Roni Size & Reprezent, Brown Paper Bag (from New Forms)
- Faithless, We Come One (from Forever Faithless)
- Goldie, Timeless_ i. Inner City Life, ii. Pressure, iii. Jah (extract, from Timeless)
- Aphex Twin, Windowlicker, from Windowlicker
- Coming to America OST, Randy Watson & Sexual Chocolates
- Arashi, We can make it!, from Bambino OST
- St. Germain, Sure Thing, from Tourist
- Télépopmusik, Breathe, from Genetic World
- Montell Jordan - This Is How We Do It, from The Nutty Professor OST
- Craig David, 7 days, from Born to do it
- Air, Cherry Blossom Girl, from Talkie Walkie
- Telefon Tel Aviv, I lied, from Map of what is effortless
- Royksopp, Remind Me, from Melody A.M.
- Portishead, The Rip, from Third
- Jonathan Colling, from Colin McRae Rally Theme
- Coldplay, Don’t panic, from Parachutes
- Moby, Why does my heart feel so bad, from Play
- Avalanches, Since I left you, from Since I left you
Image from Antonio Violetta sculptor
- Jon Kabat Zinn, Lost in the Forest
- Neil Young, Southern Man (After The Gold Rush)
- Job Kabat Zinn, Rainer Maria Rilke
- Philip Glass, Act II, Scene I, Dance I (Einstein on the Beach)
- William S.Burroughs, Drugstore Cowboy
- Godspeed You Black Emperor, Easy Hastings (F#A#Infinity)
- Jon Kabat Zinn, TS Eliot
- Nicola Boari, Michele (inedito)
- Gavin Bryars Ensemble, Jesus’ Blood Never Failed Me Yet
- Aqua teen opening
- Space ghost coast to coast opening
- Aqua teen hunger force theme
- Boredoms, Hey bore hey (from Pop Tatari)
- Achievements - Me, Mike and Adolf Hitler (from From Pix to G https://achievements.bandcamp.com/album/from-pix-to-g )
- Dethklok, Intro
- JAB, Ghost Children (PG13) (from Unbelievably Hardcore, https://archive.org/details/JAB-UnbHard )
- Melt-Banana, Lost in mirror (from Teen Shiny)
- JC Thirwell, No Vacancy (Venture Bros Theme)
- David Flores y Giancarlo Morieri, 06 (from https://archive.org/details/DadaistAudio067 )
- Sonic Youth, Tuck N Dar (from Made in USA)
- Salomè Lego Playset, A Youth in the Garden (from Live @ Covo 2004, https://archive.org/details/SalomeLegoPlaysetLiveCovo2004 )
- Double Nelson, Bivouak (from Double Nelson)
- The Streets, It’s Too Late (from Original Pirate Material)
- Dalek vs Zu - Deadverse (from Dälek Vs Zu)
- Steroid Maximus, The Bowel of Beelzebub- Second Movement- The Auctioneer of Souls (from Ectopia)
- Dope Body, Repo Man (from Lifer)
- Lego/your dog, 12 (extract, from Your Dog, https://archive.org/details/SR011-LegoYourDog-YourDog )
- Sonic Youth, Nevermind (What Was It Anyway) (from NYC Ghosts & Flowers )
- JAB, Bells (from Unbelievably Hardcore, https://archive.org/details/JAB-UnbHard )
- Sonic Youth, Freezer Burn, I Wanna Be Your Dog (from Confusion is Sex)
- David Flores y Giancarlo Morieri, 03 (extract, from https://archive.org/details/DadaistAudio067 )
- Frito Bandito TV AD
- Aretha Franklin, Natural Woman (The Big Chill OST)
- Janis Joplin, Summertime (Woodstock 1969)
- Fleetwood Mac, Landslide (Best Of)
- Tracy Chapman, Fast Car (Tracy Chapman)
- Three Dog Night, Joy to the World (The Big Chill OST)
- Blues Brothers, Sweet Home Chicago (Blues Brothers OST)
- Sam & Dave, Hold On, I’m Comin’ (The Big Chill OST)
- The Mamas & The Papas, California Dreaming (If You Can Believe Your Eyes and Ears)
- Marvin Gaye, I Heard It Through Te Grapevine (The Big Chill OST)
- Nina Simone, Strange Fruit (Best Of)
- SLP, La Politica degli Auguri (from Structures Anthropologiques de l’Imaginaire de Famille, https://slpmusic.bandcamp.com/album/structures-anthropologiques-de-limaginaire-de-famille)
- Richie Havens, Freedom (Woodstock 1969)
- Sade, Jezebel (Sade Best Of)
- Sonny & Cher, I Got You Babe (Groundhog Day OST)
- Dooley Wilson - As Time Goes By (extract, Casablanca OST)
- Sonic Youth, Sunday (from A Thousand Leaves)
- Asian Dub Foundation, Change
- Pharacyde, Somethin (Plain Rap)
- Yu Takahashi, Made in America
- Carol of the Bells (Home Alone OST)
- The Exciters, Tell him (The Big Chill OST)
- Bjork, Bachelorette (from Homogenic)
- Glenn Branca, Second Movement (The Temple of Venus, Part II) (From The World Upside Down)
- Joe Hisaishi, Meet Again (Kids Return OST)
- Sonic Youth, Secret Girl (from Made in USA)
- Melt Banana (from Teen Shiny)
- Lighting Bolt, Dracula Mountain (from Wonderful Rainbow)
- Sonic Youth, NYC Ghost and Flowers (from NYC Ghost and Flowers)
- Chu Ishikawa, Selene (extract from Tokyo Fist OST)
- Koji Tano, 11 (extract from Absurd Summer)
Metal anime music from 2000s (and more), curated by Alessio.
- My Brother (Berserk), Vincent Moretto Cover
- Ash Crow (Berserk), Jackie-O/B-Lion
- We’re not alone, Coldrain
- Satsugai, DMC, Detroit Metal City OST
- Grotesque, DMC, Detroit Metal City OST
- Mad Monster, DMC, Detroit Metal City OST
- What’s Up People, Maximum The Hormone, Death Note OST
- Zetsubou Billy, Maximum The Hormone, Death Note OST
- SiM-Existence, Rage of Bahamut: Genesis OST
- Gyakkyou burai Kaiji Hakairoku Hen OST
- Parasyte OST, opening theme
- Welcome to NHK theme song, Odoru Akachan Ningen
- Senua’s Saga Hellblade 2, Heilung - In Maidjan
- Last Dinosaur, The Pillows, FLCL OST n.3
- Ira Newborn, Bad News 1 (Instrumental) (from Planes Trains & Automobiles OST)
- Ira Newborn, Coming Home (Instrumental) (from Uncle Buck OST)
- Norm McDonald, Moth Joke (from Based on a True Story audiobook)
- Connels, '74-'75 (from Ring)
- Bruce Springsteen, The Ghost of Tom Joad (from Now that’s what I call all of… 1996)
- Zager & Evans - In The Year 2525 (from 2525 Exordium & Terminus)
- Brixio, Trizzi, Tempera, Fantozzi e il Megadirettore (from 1975-76 Fantozzi & Il Secondo tragico Fantozzi OST)
- Harold Faltermeyer, Richards' Apt. Sneak (from The Running Man OST)
- James Horner - Victor Escapes (from Red Heat OST)
- Achievements, Virtual_VCR (from Pix to G https://achievements.bandcamp.com/album/from-pix-to-g/ )
- Bjork, Army of Me (from Post)
- Meavy Boy, True Love Midi Interlude (from Column, https://spettrorec.org/meavy-boy-column-sr193-2018/ )
- Hideki Naganuma, Sweet Soul Brother (BB Rights Mix) (from Jet Set Radio Future OST)
- Wamdue Project, King Of My Castle (Roy Malone's King 1997 Radio Edit)
- Ghost In The Shell (Playstation OST)
- Qebrus - ᐔ ᐌ ᐂ ᐍ ᐚ - 02 ᐛᢰXᒣ ᐂ Mᒷᢳᐉ (from ᐔ ᐌ ᐂ ᐍ ᐚ (2017)
- Blade Runner Suite - Part 22 Ending Theme (from Blade Runner Deck Art)
- Pain Teens - Lisa Knew (from Destroy Me, Lover)
- Popol Vuh - Der Große Krieger (from Letze Tage, Letze Nachte)
- Geinoh Yamashirogumi - AKIRA Symphonic Suite - Requiem Invention, Toccata (Akira OST)
- Swans - Helpless Child (from Soundtracks for the Blind)
- Low - Do You Know How To Waltz (from The Curtain Hits The Cast)
- Rambler 1976 - You're My Only Soul (from Rambler 1976, https://spettrorecords.bandcamp.com/album/rambler-1976)
- Blood Meridian audiobook extracts, by Cormac McCarthy
- 2814, 恢复 (新しい日の誕生, The Birth of a New Day)
- Atom Heart & Tetsu Inoue - Data Haiku (The Ambient Cookbook cd2)
- Takenobu Mitsuyoshi & Yuzo Koshiro & Takeshi Yanagawa & Osamu Murata & Ryuji Iuchi - Christmas on Dobuita Street (Shenmue OST)
- Chihei Hatakeyama, Bonfire on the Field (Minima Moralia)
- Tetsu Inoue, Magnetic Field (Ambiant Otaku)
- Space Streakings, Brain Buster Hyper Love 脳天直下ハイパーラブ (First Love)
- Vangelis, Blade Runner Suite Part 4 (Blade Runner Deck.Art)
- Xpressive Records - Nights (Saturn EP)
- Vangelis, Fourth Sector - Downtown (Blade Runner, Esper Edition)
- Chu Ishikawa, BF1 (Tetsuo Body Hammer OST)
- アロキン - もう泣かないわ (from ESPER https://paganfries.bandcamp.com/album/esper)
- Austin Smith/SLP - extract from 戸山 Toyama Voidilism (https://slpmusic.bandcamp.com/album/voidilism)
- Ryuichi Sakamoto - Etude (from Illustrated Musical Encyclopedia)
- Joe Hisaishi - Mad Summer (from Kikujiro OST)
- アロキン - 冴羽 獠、夜の首都高を辿る夢の追跡 (from Sleepless Arcade, https://arokin.bandcamp.com/album/sleepless-arcade-2)
- Mondo Grosso - ラビリンス (from Mondo Grosso Official Best)
- View Masters - Pachinko Mandala (from Japanese Avant-Garde compilation, Sub Rosa, 2002)
- Sega AM2 - Heart Beats (from Shenmue Jukebox OST)
- Koji Wakamatsu - Nihon Boko Ankokushi Onju T-2 (Koji Wakamatsu Avant-Garde and Free OSTs)
- Joe Hisaishi - Lost Spirit (from Porco Rosso OST)
- Les Rallizes Denudes - Strong Out Deeper Than The Night (extract, from Heavier Than a Death in the Family)
- Takenobu Mitsuyoshi & Yuzo Koshiro & Takeshi Yanagawa & Osamu Murata & Ryuji Iuchi - Tears of Separation (from Shenmue OST)
- Joe Hisaishi - Angel (from Hana-Bi OST)
- Ami Yoshida - I (from Spiritual Voice)
- aus - Mayonaka No Sukima (from Curveland)
- Mogwai - Take me somewhere nice (from Rock Action)
- Neil Young - Don't Let It Bring You Down (from After the Goldrush)
- Slint - Warren (from Tweez)
- Iron and Wine - Free Until They Cut Me Down (from Our Endless Numbered Days)
- Jambinai - They Keep Silence (from A Hermitage)
- Sonic Youth - Free City Rhymes (from NYC Ghost and Flowers)
- Terry Riley - Untitled I (from Poppy Nogood and the Phantom Band all Night Flight vol 1)
- Geinoh Yamashirogumi - Battle Against The Clowns (from Akira Symphonic Suite)
- Max Richter - Spring 1 (from Vivaldi: The Four Seasons Recomposed)
- Joe Hisaishi - I Love You ... Aniki (from Brother OST)
Toshihiro Yanai is a Japanese musician / composer.
EAR & ECHO RECORDS is a personal label of Toshihiro Yanai, established at NY since 2019.
- Utsura Utsura - S/S/A/W
- stove - S/S/A/W
- Untitled - S/S/A/W
- Via - Toshihiro Yanai
- children - Kaori Nishijima
- 鳥になったり 魚になったり - Toshihiro Yanai
- chatting - Toshihiro Yanai
- 2025 - Toshihiro Yanai
- Landscape and Fantasy - Toshihiro Yanai
- Felicita - Toshihiro Yanai
- Landscaping - Toshihiro Yanai
- 硝子と虹 - Toshihiro Yanai
- 芽と花 - Toshihiro Yanai
- 汽笛 - Toshihiro Yanai
- 冬の春の道 - Toshihiro Yanai
- 贈り物 - Toshihiro Yanai
- Vangelis, Bicycle Riders (Blade Runner: Esper Edition)
- Kenji Kawai, Chant 2 (Ghost in the Shell OST)
- Ryoji Ikeda, Data.Vortex, (Dataplex)
- Lamb, Cotton Wool (Fila Brazillia Mix)
- SLP, We Played Ultima Together on Nintendo, (Structures Anthropologiques de l’Imaginaire de Famille, https://spettrorec.org/slp-structures-anthropologiques-de-limaginaire-de-famille-sr024-2010/)
- Ohneotrix Point Never, Animals (Garden of Delete)
- Brian Eno, [Condition 3], (Compact Forest Proposal)
- Geinoh Yamashirogumi, Winds Over Neo-Tokyo (Akira Symphonic Suite)
- アロキン - Bologna Futurshow 1996 3000 Anni nel Futuro, (ESPER, https://paganfries.bandcamp.com/album/esper)
- Tarwater, v-at, (Silur)
- Kashiwa Daisuke, Airdrop, (april.#02)
- SLP, We Wore Blue Jeans Jackets in that Picture from Scotland (Structures Anthropologiques de l’Imaginaire de Famille, https://spettrorec.org/slp-structures-anthropologiques-de-limaginaire-de-famille-sr024-2010/)
- John Barry, Space Lazer Battle (James Bond, Moonraker OST)
Playlist compiled by experimental psychedelic band Ghobi.
- "Say Something to Someone", Rothko (from "Eleven Stages of Intervention")
- "Traumtur", Fit & Limo (from "The Serpent Unrolled")
- "Time", The Heliocentrics (from "A World of Masks")
- "Gone to Ground", Tangents (from "New Bodies")
- "Cono", Ghobi (from “Amba”, SR239, 2022, https://spettrorec.org/ghobi-amba-sr239-2022/)
- "Hart", Ulan Bator ( from "Végétale")
- "Born in the Eleventh Month", Fit & Limo (from "The Serpent Unrolled")
- "Scudi", Ghobi (from “Amba”, SR239, 2022, https://spettrorec.org/ghobi-amba-sr239-2022/)
- "Solaris", Isotope 217 (from "Utonian_Automatic")
- "Dom’s Lament", Bardo Pond (from "On The Ellipse")
- Thomas Koner, Nuuk Day (air) (from Nuuk)
- UNKLE (featuring Thom York), Rabbit in your Headlights (from Psyence Fiction)
- Massive Attack, Special Cases (from 100th Windows)
- These New Puritans, We Want War (from Hidden)
- Bitch Alert, Selling Hugs (from Kill Your Darlings)
- The Faceful, Take me to the High (from Just Go Destroy (Everything in Sight!))
- Ghost, Grisaille, (from In Stormy Nights)
- Mount Eerie, Lone Bell (from Clear Moon)
- Jim O'Rourke, He felt the patient memory of a reluctant sex (from Tamper)
Gianmaria (seconda parte della storia di Spettro Records)
Seconda parte della storia di Spettro Records narrata per incontri, incontrandoci fuori dal campo, lontani. La prima parte, per cui dobbiamo ringraziare Gianmaria Aprile di Contenere Moltitudini, è disponibile qui: https://www.fangoradio.com/shows/35/1077
L’altra metà di Plebs & Fuckboys è Ripdae La Wise delle Isole Vergini Americane, qui insieme a Carl Yvan Prévil in “Fela (Somehow I don’t think Charlie Parker would be quoting Goethe)”.
Nel 2011 provai ad organizzare un altro tour per i Salomè insieme a John Fanning, in arte Massaccesi, che anni prima avevo forse visto in una strana performance fra pupazzi, harsh noise, breakcore e schizofrenia ad XM24. Lo feci venire in Italia e facemmo 4 o 5 date, una più disastrosa dell’altra, ma comunque divertenti. Per puro caso John era amico di Nicola Fecalove, e grazie a quell’amicizia ci avvicinammo definitivamente con una data improvvisata in una galleria di Bologna. In questa playlist ho incluso “Their Business Model Doesn't Coincide With Reality” di Massaccesi, di cui poi ho iniziato a raccogliere e condividere altri album passati in “Le Collezioni Massaccesi”.
Dal postrock Spettro per qualche anno si è dedicata al noise, poi poi virare verso il drone, l’ambient, l’elettroacustica, talvolta l’hiphop come già visto con Plebs. Ma la loro non era la prima uscita rap, in senso lato. Già il secondo CD pubblicato da Spettro era il progetto di Jacopo dei Salomè sotto il moniker Derek Dick Decio, e qualche anno dopo fui contattato da un sinistro individuo che mi scriveva per conto del gayngsta (esatto, scritto così) rapper di New York Cockmasta Flex che declinava il genere gangsta con testi pornografici horrorcore queer. Non ho mai saputo quanto fidarmi, ma ovviamente lo pubblicai, in quello che è forse il maggior “successo” di Spettro diventato virale, per tutte le ragioni sbagliate ovviamente, grazie anche a qualche discutibile Twitch gamer. Ma tutto ciò fa ovviamente parte del gioco. La musica ospitata da Spettro è gratuita e ciò significa che può essere condivisa senza (o con pochi) limiti, ovunque e da chiunque, finendo in hometapes di qualsiasi genere, e talvolta in progetti di largo respiro, su cui Spettro non ha nessun controllo, né tantomeno guadagno. Di Cockmasta includo “Cummin in the Starz” il cui titolo parla per sé. Grazie a lui ho stretto una solida amicizia con il suo “intermediario”, Joke (nome di fantasia, suo l’episodio di Meeting Off-Site https://www.fangoradio.com/shows/172/1169), videomaker americano il cui allucinato film “America’s Secret Feelings” è in visione gratuita su Spettro (sito vecchio per adesso, http://www.spettrorec.com/index.php?/albums/americas-deepest-feelings/), insieme a folli montaggi di fitness classes di Richard Simmons sui beat degli Onyx. Joke suona anche con Christian nel duo grindcore Your Marginally Talented Photographer Girlfriend, uno dei nomi più perfetti e contro-rappresentativi di quegli anni (2013-2016?, in piena età hipster), che oltre a pubblicare un paio di dischi con Spettro hanno anche fornito un jingle grind (qui in playlist Beby Radio appunto) per un improponibile podcast satirico che Spettro ha curato fino a qualche anno fa, Beby Radio (con la E), di cui non so se andare orgoglioso o pentirmi amaramente e rischiare di essere cancellato definitivamente (le puntate sono qui: https://archive.org/search.php?query=beby+radio)
Nel 2013 pubblicai in free download “I Die Smiling” del canadese The Sun Through A Telescope, sludge doom metal difficile e sofferto registrato e suonato da un uomo soltanto, qui con “Mr. Yawning Infinity Chasm/Superinfinity”. Non avevo mai ospitato un pezzo così complesso, intenso e, per quanto poco possa significare, professionale. Questo è uno dei tanti piccoli pezzi che hanno trovato una propria collocazione indipendentemente da me, perché Spettro respira di vita propria. Poco dopo la sua fondazione, fummo ospitati dal compianto Pierantonio Pezzinga sul suo programma “Intersezioni” di Radio Città Fujiko. In qualche modo le nostre strade si erano già incontrate, anche se lateralmente e per motivi completamente diversi e difficilmente comprensibili così, in un testo così breve, senza vederci e parlarne, forse su più piani, con identità varie e non più soltanto mie. Pierantonio paragonò alcune delle nostre musiche ai Residents, di cui non conoscevo altro che gli occhi enormi. Mi sentii libero di fare tutte le musiche del mondo, coltivando una grande menzogna.
Ammetto che le uscite fatte con Spettro sono tante, se non troppe, e se potessi tornare indietro alcune scelte le farei diversamente, sia per interessi artistici mutati, che per la mia sensibilità che è inevitabilmente cambiata. Rimangono tuttavia istanti di quello che eravamo in quegli anni. Giovani, irrequieti, arrabbiati. Con gli anni i toni di Spettro si sono progressivamente calmati, virando verso un’estetica dell’ascolto più profonda e tenue. Tornando al Giappone talvolta, come nell’elegiaca “Forest of Prayer” di Ibuki Fkuda, capitata per caso e tornata nell’oscurità, o nella mia fascinazione per la vaporwave che mi ha fatto tentare suoni nuovi con il nome di アロキン.
Nel 2013 pubblico la “monumentale” compilation “Demise, Decline, Dehumanized, Death”, 4 volumi in free download fra harsh noise, hardcore, drone, samples di film di quart’ordine e orrori ben troppo reali. All’epoca cercavo il brutto in quello che successivamente ho compreso esser stato un momento basso della mia vita. A conclusione del quarto volume è la traccia “Ostrakon” di Kelly Churko, formidabile musicista sperimentale canadese, impegnato in innumerevoli formazioni che spaziano dal jazz all’elettronica più radicale. Nel 2007/8, sempre in quello stesso fatidico anno, vedevo spesso il suo nome nei flyer di concerti noise in giro per Tokyo, fra Urga, Ochiai Soup, Super Deluxe e tanti altri, e lo invidiavo tanto, lui, gaijin entrato nell’orchestra di Satoko Fuji che vidi con un amico venuto da lontano e i miei cani tanti anni or sono all’Area Sismica di Forlì, anche se di lui non sapevo nulla. Non ci incontreremo mai di persona, tuttavia lo contattai per chiedergli un contributo e ci scambiammo una manciata di cd e cassette. Se ne andò troppo presto per un male incurabile, e con lui anche un altro gaijin con cui ha spesso suonato, Zbigniew Karkowski, e registrato il disco “Infallibilism” che conservo con gelosa gratitudine. Di loro vorrei parlare di nuovo.
Negli ultimi mesi sto collaborando assiduamente con Akis Karanos, amico greco di lunga data conosciuto su internet soltanto ma con cui ci sentiamo giornalmente. Artista criptico, poeta, fondatore di Pagan Fries (https://paganfries.bandcamp.com/) e già autore di varie copertine per Spettro (come ad esempio quella di “Spettro Audio Collectiv”, in cui è anche musicista), non ricordo come ci conoscemmo, probabilmente via mail o in fondo ad un commento YouTube (ad esempio, come ho conosciuto Stefano, aka Painful Silence e tanti altri nomi, inarrestabile creatore di fanzine, fotografo brutalista, fumettista, amico, e come potrei non includerlo qui con “Glaze Fiend”? Invito a recuperare le sue produzioni edite da Uhm! Fanzines, https://www.instagram.com/uhm_zines/). Di Akis ho pubblicato due album sotto il nome di Kοκκαλα, di cui uno in cassetta. Insieme abbiamo composto “Seasonal flows on warm Martian slopes”, la prima di una lunga serie di collaborazioni, ed è appena uscito come Kοκκαλα “All It Takes Is One Idiot”, il primo disco composto interamente assieme, e il primo di una lunga serie disponibili in free download su Spettro e in cassetta su https://kokkala.bandcamp.com/. Akis ha già curato una puntata di Meeting Off-Site (https://www.fangoradio.com/shows/172/706), nonché il suo artwork. Di Akis avrei voluto ospitare una mostra a Ikigai Room, chiuso purtroppo troppo presto. Quei due intensi anni di febbricitante attività pre-pandemia a Ikigai sono racchiusi nella quarta compilation Spettro, https://spettrorecords.bandcamp.com/album/spettro-records-10th-year-anniversary-volume-i e https://spettrorecords.bandcamp.com/album/spettro-records-10th-year-anniversary-volume-ii dove ritroviamo vari nomi qui presenti, e tanti altri che avrei voluto includere. La copertina è di Fabiana Teodonno, artista e batterista, con cui adesso suono in un gruppo ancora senza nome, insieme al bassista di Salomè Davide, e ad Omar, solista come First Catatonic Ensemble per Spettro (da lui curata la puntata di Meeting Off-Site disponibile qui https://www.fangoradio.com/shows/172/993), di cui qui includo la traccia inedita “Stele”, e già chitarra dei River or No, formazione postrock di cui includo “Temporarily Hostile Freaks”. Dopo aver pubblicato una serie di EP in free download per Spettro, Omar, che ancora non avevo conosciuto di persona, mi chiese se conoscevo un batterista disponibile per una nuova band, i River appunto. Gli presentai così Riccardo, amico sin dai tempi delle scuole superiori, multistrumentista di grande talento, già su Spettro come Monkeeastronaut, progetto dark ambient cosmico, qui presente con “The Jungle Within”, a testimonianza di come Spettro sia stato e tutt’ora è un luogo di passaggi ed incontri, impermanente per natura eppur ancora qui da 12 anni, pervadendo i miei, i nostri, ascolti di vite.
- Ripdae La Wise & Carl Yvan Prévil, “Fela (Somehow I don’t think Charlie Parker would be quoting Goethe)” (da “with a moko jumble & a persona of three”, 2019, SR209, https://ripdaelawise.bandcamp.com/album/with-a-moko-jumbie-a-persona-of-three)
- Massaccesi, “Their Business Model Doesn't Coincide With Reality” (da “When I Was Young It Was All About The Music”, SR020, 2010, http://www.spettrorec.com/index.php?/specials/le-collezioni-massaccesi/#sr020
- Cockmasta Flex, “Cummin in the Starz” (da “Bros B4 Hoes”, SR079, 208, https://cockmastaflex.bandcamp.com/album/bros-b4-hoes)
- Your Marginally Talented Photographer Girlfriend, “Beby Radio” (da “Had a Beby”, SR149, 2016, https://yourmarginallytalentedphotographergirlfriend.bandcamp.com/album/had-a-beby)
- The Sun Through A Telescope, “Mr. Yawning Infinity Chasm/Superinfinity” (da “I Die Smiling, SR094, 2013, https://tstat.bandcamp.com/album/i-die-smiling)
- Ibuki Fkuda, “Forest of Prayer” (da “Futurism”, SR153, 2016, https://archive.org/details/Ibuki_Fkuda_Futurism)
- Kelly Churko, “Ostrakon” (da “2013 Spettro Compilation, Volume IV”, https://spettrorecords.bandcamp.com/album/spettro-records-sampler-volume-4-death-sr086-2013)
- Painful Silence, “Glaze Fiend” (da “Shards”, SR088, 2013, https://archive.org/details/Shards-20587)
- アロキン & Kοκκαλα, “Seasonal flows on warm Martian slopes” (da “Il Sangue Cattivo”, SR206, 2018, https://arokin.bandcamp.com/album/il-sangue-cattivo)
- First Catatonic Ensemble, “Stele” (inedita)
- River of No, “Temporarily Hostile Freaks” (da “The Endless (EP)”, SR200, 2018, https://riverofno.bandcamp.com/album/the-endless-ep)
- Monkeeastronaut, “A Swarm Of Flying Ants” (da “The Jungle Within”, SR218, 2020, https://monkeeastronaut.bandcamp.com/)
Joke "Ishtarr" Win
Little is known about Joke, who curated this episode of Meeting Off-Site. Joke and I got in touch online almost ten years ago over an album he was made custodian of, the infamous Bros B4 Hoes by the mysterious crack-smoking queer NY gangsta rapper Cockmasta Flex, a (perhaps) living contradiction no gonzo documentarian would ever even venture into pursuing. And Joke had so much more going on, from the brutally insensitive grindcore band Your Marginally Talented Photographer Girlfriend, a name still unparalled in its purest anti-hipsterism and abrasiveness, to controversial and upsetting, and cruelly funny, videowork with redits of Richard Simmons in his 80s workout ouffit mixed with Onyx and Pig Destroyer, all the way to America's Deepest Fellings, a montage of pornography, Faces of Deathesque scenes, actual violence and 90s grimy TV ads with a voiceover straight out of America's Funniest Home Videos. All of which obscure, hard, challenging, and alive. We're still friends, and I know he's not done cooking and what I've seen is just a taste of it.
- Sometimes I Wonder - Sample from Dexter TV Series - 2007
- Being Summoned to the Qualm Cove, by Imogen Sylvia Abrams - Cllaptospetivw, 2007
- Crime Beam, by Giggle the Ozone - The Error of Good Feeling, 2022
- Oh I Just Got Engaged and My God What a Wonderful Feeling, by The Creepers - Sneakin with the Creepers, 2010
- Wrong Sabbath, by Dopethrone - Transcanadian Anger, 2018
- Triumph to Infinity, by Dilapidated Faith - Triumph to Infinity, 2004
- Stones & Sticks, by Holy Haunted Head - akaliyugaopera, 2005
- Don't Be So Amused, by Cole Kitz - Triclit, 2001
- I Don't Like You Anymore, by Spastic Habbits - Spastic Habbits, 2003?
- When I Was Young, by Thee Majesty - Time's Up, 1999
- Snowballin' (Hoe Hoe Hoe), by Santa Claus and the Elf - Baltimas V (compilation), 2010
- Lena, by The Best - Plan B 2009
- Zombie, by Langhorne Slim - Lost At Last volume 1, 2017
- The Second Beast: Dog: Where You Gonna Hang Your Leg Up?, by Santa Dads - Anima Mundi, 2007
- As It Has Been, by Jeremiah Bornfield - ?
- Booty Queen, by Liz King - All Songs Go To Heaven, 2009
- Eleven Things that are Probably Bullshit, by Your Marginally Talented Photographer Girlfriend - unreleased, 2016
- God Hates America, by The Westboro Baptist Church - live from a protest in Washington DC, 2005
- Strictly Dick, by Cockmasta Flex - Disrespect to Jschlatt and His Followers, 2021
- Support, by Ian Colletti - Automatic Vaudeville, 2005
- Takin It Back, by James Petz - unreleased, 2005
- That's All Folks' (summer), by Christian Banfield - unreleased, 2015
Naoki (Ukranian experimental music playlist)
Playlist by Naoki Ishida, first released on Ukranian label Quasi Pop, in support of the people of Ukraine.
- Anthem - Svyatoslav Lunyov
- Me And You - Ivan Samshit
- Two Clowns - Alexey Petrov
- mrthwarmroom - ceckj
- T.T.S - Svyatoslav Lunyov
- Cats And Dogs - CharSky
- V Pleske Lezviy - Biblioteka Prospero
- Urbi Et Orbi - Svyatoslav Lunyov
- Machine World - Ivan Samshit
- The City Of Old Hippie - EDWARD SOL
- nosaai control panel - ceckj
- Smile - Ivan Samshit
- scr0flies - ceckj
- Heavy Water - Svyatoslav Lunyov
- Clear Noon (Loran C remix) - Dao De Noize & Naoki Ishida
Playlist curated by Omar Casagrande, aka First Catatonic Ensemble, guitarrist, grandmaster of distortion, father, bandmate, friend.
- Low - Dancing and fire
- Joeyfat - Cartoon lions
- Supreme Dicks - Cùchulain (blackbirds loom)
- Self Defense Family - No Analog Nor Precedent
- Sufjan Stevens - Fourth of July (900x remix)
- Yves Tumor - Licking an orchid
- Shelt - Haven
- Head Wound City - Head Wound City, USA
- Tropical Fuck Storm - You let my tyres down
- Pile - Firewood
- Testadeporcu - Dead Cabernet
- Sons of Kemet - My queen is Ada Eastman
- Bigterrorseason - Little part of me
- Idles - Danny Nedelko
- Sharon Van Etten - Seventeen
Michele Man Chi
Laureatosi in Cinema al Dams di Bologna, Michele Senesi frequenta negli anni corsi di operatore cine televisivo, di montaggio, sceneggiatura e regia con autori come Alberto Grif, Peter Greenaway, Giuseppe Bertolucci, Ansano Giannarelli e Giovanni Robbiano.
E' autore di numerosi cortometraggi e progetti audiovisivi realizzati con diversi collettivi, fino alla fondazione di una propria factory.
Fonda così la PALONERO, agenzia di marketing strettamente votata alla produzione audiovisiva con la quale dirige spot, pubblicità, brand identity, video-manuali per grandi aziende, videoclip, documentari di inchiesta e inaugura un decennio di progetti legati alla didattica, con progetti che vanno dalle elementari, passando per l’insegnamento all’università fno a workshop per un’utenza generalista.
In parallelo con la casa di produzione indipendente PALONEROflm lavora su progetti narrativi -principalmente lunghi- con la regia di due flm (Bumba Atomika e Il Cerchio delle Lumache) e la co-produzione di un terzo (I Rec U) in cui recita l'attore Terry Gilliam.
Parallelamente lavora nel campo del giornalismo cinematografco, scrivendo per periodici (Nocturno Cinema, Blow Up, Horror Show), quotidiani (Il Manifesto), siti web (Asian Feast, Cinemavvenire, CineCritica, Il Cineocchio...), cataloghi di Festival (Future Film Festival, EstAsia - Cinema d'Oriente), bonus di DVD, libri (Il Nuovo Cinema di Hong Kong, J-Movie).
Scrive ad oggi circa 2000 articoli intervistando decine di star del cinema tra cui Hideo Nakata (Ring), Miike Takashi (The Call), Lam Tze-chung (Shaolin Soccer), Johnnie To (Vendicami), Jackie Chan (Pallottole Cinesi), Tsui Hark (Seven Swords), Shu Qi (The Transporter), Shinya Tsukamoto (Vital, Kotoko), Andy Lau (A Simple Life).
E' fondatore e direttore responsabile di ASIAN FEAST (www.asianfeast.org), dal 2003 uno dei più longevi (e pieni di materiali) siti internazionali di studio del cinema, cultura e show business dell'Asia.
Cura eventi tematici e tiene conferenze sul cinema nel corso di Festival specializzati.
Nel 2020 è stato nominato Presidente di Giuria, alla diciottesima edizione del Florence Korea Film Fest, il Festival forentino dedicato al cinema e alla cultura sud coreana.
Michele Senesi is an Italian filmmaker (Bumba Atomika, Il Cerchio delle Lumache...), photographer, essayist, film critic and founder and curator of Asian Feast, Italy's oldest and most reputable online portal dedicated to Asian films.
Michele and Spettro go way back, having first introduced Nicola to the cinema(s) of the Far East through his underground screenings at XM24 squat space in Bologna in the early 2000s and providing invaluable help on his book on Japanese director Wakamatsu Koji ("Wakamatsu Koji, Il Piacere della Distruzione"). Spettro has also provided help with Michele's latest film's soundtrack, Snail's Club (Il Cerchio delle Lumache), with tracks by SLP, Rasalasad and Ze-Ka.
- Shaw Brothers logo
- Kenji Kawai (Seven Swords ost)
- Kung Fu Hustle OST (Zhi Yao Wei Ni Huo Yi Tian)
- Kung Fu Hustle OST (Nothing Ventured, Nothing Gained)
- Sam Hui (The Private Eyes Theme)
- Sam Hui (Swordsman ost)
- Faye Wong - Dreamlover (Hong Kong Express ost)
- Teresa Teng (The Moon Represents My Heart)
- The Mission ost
- Karen Mok - Close to You (So Close ost)
- Leslie Cheung (A Better Tomorrow ost)
- Anita Mui - Song of Sunset (A Better Tomorrow III)
- James Wong - A Man Should Help Himself (Once Upon A Time In China ost) Golden Harvest logo
- KYU Sakamoto (Sukiyaki)
- MISA, Emiko Furakawa & Mie Shimizu - Angel of Love (Perfect Blue ost) Kyoko Fukada - Kimi no Hitomi (Dolls ost)
- Dempagumi Inc. - DenDen Passion (World of Kanako ost)
- Trippple Nippple - LSD (World of Kanako ost)
- The Peanuts (Koi no bakansu)
- W (Koi no bakansu)
- Godzilla ost
- Ultraman op ost
- Kamen Rider op ost
- Toshiaki Tsushima (Battles Without Honor & Humanity ost) Chu Ishikawa - Megatron (Tetsuo the Iron Man ost)
- Joe Hisaishi - Thank You,... For Everything (Hana Bi ost)
Tracklist compiled by Akis Karanos, visual artist from Thessaloniki, Greece; composer behind Kοκκαλα; founder of Pagan Fries label; friend.
- Astrid Øster Mortensen, "Can I Still Call"
- Carnivorous Plants, "Painted Cross"
- Andrew Weathers, "Caprock with an Improvised Text About Living with Dust"
- Patrick Shiroishi, "Tule Lake Like Yesterday"
- Blue Lick, "Hold On, Hold Fast"
- Bill Horist, "Tastemaker Epics"
- Lisa Cameron & Sandy Ewen, "Tigersaur"
- Kοκκαλα - "Wolf Vomit"
- Boards of Canada, “Gyroscope“ (from “Geogaddi”)
- SLP, “Renewal” (from “Deliverance of the Self”, https://spettrorec.org/slp-deliverance-of-the-self-sr021-2010/ )
- Neutral Milk Hotel, “Oh Comely” (from “In the Airplane Over the Sea”)
- Bjork, “I’ve Seen it All” (film version, from “Dancer in the Dark”)
- The Books, “Enjoy your Worries, You May Never Have Them Again”, (from “Thought for Food”)
- SLP, “Politica degli Auguri” (from “Structures Anthropologiques de l’Imaginaire de Famille”, https://spettrorec.org/slp-structures-anthropologiques-de-limaginaire-de-famille-sr024-2010/ )
- Nobukazu Takemura, “Cons” (from “10th”)
- Brian Harnetty, “Boy” (from “Shawnee, Ohio”)
- Nick Cave & Nicholas Lens, “Litany of The Unnamed” (from “Litanies”)
- Mtube & The Umoja Ensemble, “The Prayer (sifa zote)” (extract, from “Alkebu, Land of the Blacks”)
- Sufjan Stevens, “John Wayne Gacy” (from “Illinois”)
- Mount Eerie,”The Place I Live” (from “Clear Moon”)
- アロキン - “Summer in Libertyville 1993-97” (from “Il Sangue Cattivo”, https://arokin.bandcamp.com/album/il-sangue-cattivo )
Ikigai (per Sonia, Massimo e Matteo)
Musica prodotta e ispirata da Ikigai Room.
Music produced and inspired by the now defunct Ikigai Room kissaten.
- Circe, “4 Pictures” (from “4 Pictures”, 2008, https://qqqqqurage.exblog.jp/21878292/)
- Akira Kobayashi, “Gomen Ne” (1971)
- Pistol Jazz, “Spring Snow” (from “Original Soundtrack”, 2016, https://archive.org/details/PISTOL_JAZZ-ORIGINAL_SOUNDTRACK/)
- Naoki Ishida, “Reunion” (from “Lineage”, 2021, https://ikigairoom.bandcamp.com/album/lineage)
- Jim O’Rourke - “Tenori On” (from Tenori-on Demo album, 2007, https://archive.org/details/tenori-on-demo-album)
- Yuichiro Fujimoto, “Song of Hiroe” (from “Old Memories”, 2020, https://ikigairoom.bandcamp.com/album/old-memories)
The paths that lead to Salomè.
- “Meeting Off-Site” (From “Rambler 1976”, by Rambler 1976, https://spettrorecords.bandcamp.com/album/rambler-1976 )
- “Unheimlich” (from “Contre la Vie Contre la Mort”, by Salomè Lego Playset, https://salomelegoplayset.bandcamp.com/album/contre-la-vie-contre-la-morte )
- “#00803554” (From “Them Specs” by Monkeeastronaut, https://monkeeastronaut.bandcamp.com/album/them-specs )
- “Constant State of Panic” (From “Constant State of Panic” by NITWIT, http://www.spettrorec.com/index.php?/albums/white/#sr042 )
- Extract from “Anal Floor” (From “Live @ Covo”, by Salomè Lego Playset, https://archive.org/details/SalomeLegoPlaysetLiveCovo2004 )
- Extract from “Downtown” (From “Live @ XM24”, by Salomè Lego Playset, https://archive.org/details/StudioAlbumLiveXm24 )
- Extract from “1” (From “Your Dog” by Lego/Your Dog, http://www.spettrorec.com/index.php?/albums/violet/#sr011 )
- Extract from “Dukkha Nirodha” (From “SLP” by SLP, https://spettrorec.org/slp-slp-sr001-2007/ )
- “The Gorge” (From “So Much Was Lost in the Process of Becoming” by Salomè Lego Playset, https://salomelegoplayset.bandcamp.com/album/so-much-was-lost-in-the-process-of-becoming )
- “Ostrakon” (From 2013 Spettro Records Sampler, Volume 4, by Kelly Churko, https://spettrorecords.bandcamp.com/album/spettro-records-sampler-volume-4-death-sr086-2013 )
- “3” (From “Early Works”, by Mister Drey, https://misterdrey.bandcamp.com/album/early-works )
- “Labels Wish It Was Still 1989” (From “When I Was Young, It Was All About The Music” by Massaccesi,
- http://www.spettrorec.com/index.php?/specials/le-collezioni-massaccesi/#sr020 )
- “Handshake” (From “2009 EP” by Cervo, http://www.spettrorec.com/index.php?/albums/green/#sr007 )
- Mysterium Cosmographicum” (From “Galileo Was Correct” by Mister Drey, https://misterdrey.bandcamp.com/album/galileo-was-correct )