4D/audio works

4 minutes from the inreadables live quartet recording at UCSB roberta friedman & s.weisser
a quartet because earlier in the day we had performed it on the college radio station
which was recorded [ie why cassette says duets] and played back in reverse at the audience performance later in the day
4 minutes from premiere performance of Book Of Love Being Written As They Touched 
14 March 1975 at the Museum of Conceptual Art, SF.
Based on the 40,320 permutations of this sentence.
An edition of 10 was printed with the use of a computer courtesy of the computer science depart at LA Pierce Jr College
Each voice read sentences beginning with one of the 8 words.
Voices: Faryl Bell, Lorry Benjamin, Ilyse Feder, Mary Ann Melchert, Emi Ozaki, Judy Parks, Margaret Pethick, Carol Schaler

4 minutes from Spatial Poetics 19 Nov. at the West Coast International Sound Poetry Festival
broadcast at the intersection of Mission and Van Ness, outside of La Mamelle S.F.
here is an article published in the Word Works Gallery newsletter May 1977 

regarding the Spatial Poetics form

sound of wind and limb
my first ever solo percussion performance  august 19 at la mamelle in san francisco
performing under the name s.weisser
the performance took place in the freight elevator parked one floor below the la mamelle space
where the audience was listening – superscope c105 recording

Takehisa Kosugi – violin      Chako – buchla synthesizer     S.Weisser – percussion
w/ superscope c-105 recording
September 15 at Chako and Ryusei’s studio on 3rd Street in Berkeley –
Kosugi had recently arrived in San Francisco and was staying with my friends Chako and Ryusei

We played together some few times but this was the only time that was recorded — 
he also came and played at one of the series of Moon Rise Concerts i produced 
that took place in the tunnel underneath the Great Highway in San Francisco  
By November Kosugi had gone to Manhattan 
by the end of the year he had joined the Merce Cunningham company as a resident composer/performer
just one of those things that we’ve never played together since
RUDOLPH  GREY + Z’EV  at the SQUAT THEATER on 23rd st  in manhattan
rudolph is one of my all time favorite musicians — 

along w/ lydia lunch & connie burg they were the 3 most influential guitarists in the mid 70’s nyc scene
this is an edit from the first time web ever played together – the first 22s was the actual beginning –
the last 12s the actual end — the remaining 5m 33s is consecutive from 5m in — 

and when we turn the corner at 2m 42s – that’s not an edit – that was live
1982  wipe out
Wipe Out was originally recorded spring 1981 at sorcerer sound, with charles ball at the helm once againthis was our absolute peak of working together — technically speaking, there were six basic drum tracks and 18 tracks of effects – six different digital delays on the snare drum alone, 

and 60 inches of bass drums thundering on the ONE 
(for example: a ‘big’ R&R bass drum is 24″, a big concert bass drum is 40″)
so the story goes – i was performing at SPIT, the ‘rock disco’ (remember them?) in boston, 

and the dressing rooms were underneath the dance floor, and I got locked in after my set — s
o Wipe Out came on and the house went wild — as soon as I got back to manhattan, I called charles and proposed that if we could get it recorded and released by the summer, it could be a hit like ‘Rock Lobster’ — unfortunately charles’s lust/unlust went out of business before it could be released
so as the sessions were never paid for, this 45 was in fact a bootleg — 

rod pierce [Fetish] & I mastered it at abbey road from a cassette reference i walked out of the studio with
as to it’s being a hit? 

well, almost, but not quite — the week of it’s release it was in rough trade’s top 5
but then Fetish went out of business and the stock disappeared
this was my calling card when i wanted to start working in the house music scene in amsterdam in 1990 when dj dano hear it — ‘this is tekno’ was his response and we started working together  

cover art by neville brody
1983 indefensible position
this is from the last s.weisser piece released by subterranean records 

released as the audio portion of EDITEDITIONS/CONTEXTS – S.Weisser w/ Doro Franck –
the Editedition was a resurrection of a name I had coined as S.Weisser for self-published material c.1974 from 1982 onwards, i’d become heavily influenced by doro franck, conversational analyst supreme
and took to recording and editing tapes of us talking
she had just been teaching a seminar on argumentation

based on a taped domestic argument donated to her by a friend.
well, we’d been having our fair share, and this was the ‘artistic’ outcome
the Editedition was released on clear vinyl (Subterranean Steve’s idea) 

and I spent one day at the Alternative Tentacles’ offices signing all 500: S.Weisser, 1/500
the breaking glass w/saxophone backing track was a recording of doro dropping a horde of bottles saved up for her to break into the recycling boxes for glass set up in amsterdam
 in front of the central station 
and there was a busker playing but i didnt realize he’d also been recorded
and a big thanks to peter from thethingonthedoorstep.be for providing me with a digital copy of this
and the cover pages of  [left] poextensions & contexts and editeditions & contexts [right]
3 tracks KAIN  w/ z’ev on drums  
she moves     come in out the rain     tell me what you want
in 1983 i went to a party at my friend the poet’s frederika venn’s place in amsterdam 

and most of the poetry scene was there — 
i went out onto the balcony & got to talking with this guy who it turned out had just gotten into amsterdam so we talked for a couple of hours and it turned out “this guy” was gylan kain 
who had started the Last Poets and is was and in all ways will be the baddest of the bad
so we started hanging out and performing together off and on till 1990 

when he started his own band and i started working with dj dano in the house scene
and then i ended up leaving amsterdam in 1983 

these tracks were recorded in 1986 or 7 in the back room of benn possett’s one world poetry offices 
following in the footsteps
in 1986 i began a tenure at the theatre school for new dance development in amsterdam — 

with dancer ria higler i team taught a year group through their four year program — 
this recording was from one of the performances we did together at the school — 
listen closely and you can hear her footsteps
deep sleep
so after the earthquake in los angeles in 1994 

while i was waiting around to see if the project i had come there for was going to get back together 
i started doing some work with my old pal johanna went — we did a show together in march in cleveland and then came back to los angeles and started working on a tribal torch project that we named deep sleep it was her singing songs from her dreams and me on a drum set that i built up w/18 inch bass drums
the premiere performances were two nights at LACE 
and our last showwas at a club in boy’s town on a split bill with a mike kelly/ann magnuson project
right after than my mother was diagnosed with her leukemia – and so deep sleep got put to bed
this recording of dream of monsters is from the first night at LACE – recorded by mark wheaton —
johanna’s vocal backing tracks were also recorded and produced by mark 

at his & weba’s catasonic studios in echo park
this was the project name for the hopefully not last time dj DAno and Z’Ev went into production 
i had to return to amsterdam to deal with all my stuff that had to be moved from storage to storage 
and while i was there dano dragged me into the studio for what might be a last hurrah  
we did record a cd worth of material – entitled ‘onz ziekende zaak’ (our ill business)
which is still unreleased — so here’s tracks 11 and 12 [track 12 shortened by 2m]
PsyOps Soundsystem  [Konrad Becker / k-bot, Tronstoner, Z’EV / z-bot]
Peacekeeping Concert  at close of the World Security Days in Vienna 

30 May 2008, at Fluc_Wanne Praterstern
in april of 2004 i met Michael Kneidl at a concert i gave in köln – s

ometime later he wrote me an e and proposed introducing me to hans joachim irmler 
jaochim was the keyboard player from krautrock pioneers FAUST 
so i sent an email to hans joachim then, never heard anything, and sent again a few times
but it wasn’t until 2006 that we finally connected —
so at the beginning of 2007 i went to scheer and thus began a beautiful relationship 
which culminated in our FauZ’t project
Hans Joachim Irmler: keyboards, outboards, mix  Z’EV: drums, percussion, transforms, arrangements 

Andreas Schmid: Recording & mixing & Sound Support
Original recordings @ Faust Studios, Scheer, Germany: jan 13-22 2007  —  

1st arranging & mixing: dec 2-4 2007 — 2nd arranging & mixing: sept 15-19 2008
released by atavistic worldwide in spring of 2009         this is an truncated version of a 20m 28s piece
i first met nico vascellari in november of 2008 – 

and we began to perform together using the project name Pslayer in 2009
this segment is from our concert 3 july 2010 in milano
East African Nocturne
The first duo collaboration between me and chris watson
The source materials for the composition were based on recordings of 

ambience, birds, elephants, frogs, hyenas, insects, lions and vultures 
captured by chris during trips to the serengeti national park, arusha, tanzania  
recordings of my percussion instruments recorded in the crypt of christ church in spitalfields
beginning on january 14th 2009 i began editing 4 initial elephant tracks 

and combining them with 12 total tracks of percussion
this first mix was completed and uploaded on may 5th 

it was not until august 26 that chris was able to respond 
he was happy with the work so far and suggested we meet in london on sept 5 and 6 
and discuss the piece and possible additions
on september 15th chris posted 12 tracks of ambience, birds, frogs and insects recordings

on the 19th i posted some tests of time stretched versions of the new sources 
on the 20th Chris affirmed the use of time stretching 
on october 14 i posted the 2nd mix 
on the 15th i proposed East African Nocturne as the title
on december 24th chris responded positively to 2nd mix

requesting additional percussion around middle of piece 
and noted that he would be sending additional tracks
on february 21 2010 chris posted 18 additional tracks 

so the third and final mix, adding lions, hyenas, vultures 
and another 10 tracks of percussion was completed on february 25 2010 
on march 22 chris accepted East African Nocturne as the title
In September of 2010 it was released in CD format by atavistic worldwide

on september 11 and 12 the premiere performances occurred at the south london gallery in camberwell
and a footnote to this project
on sept 11 stephen mallinder showed up before the show to see chris 

so we were sitting at the galleries cafe and they were talking and stephen asked chris about the piece 
and chris told him that i was the first person that he had ever given his recordings to  
— i was floored — 
and even more so when chris told me that this was the first time he had seen stephen in the 30 years since chris left cabaret voltaire — if i had known that i wouldn’t even have been sitting there
this is a continueous segment from 12m 02s to 24m 48s of the 51m 28s recording 

chris made of the september 12 performance