Artist/Audio Sculptor/Poet/Independent Filmmaker
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More albums by Arzathon, Heavy Metal Vampires on Nuclear Waste, Dreamtime Troubadours, available to stream on spotify
An original and complex Audio Sculpted Psychedelic project founded during the 80's Music/soundscapes created by Arzathon, Dreamtime Troubadours, Trolls on Acid, Heavy Metal Vampires on Nuclear Waste, featuring artists Don Campau, Shanna Dawn, Kristianne Gale and others. Music that draws you in, a spiritual /tribal experience like no other.Some pieces are heavily influenced by early krautrock infectious grooves but the whole musical signature consists of audio sculpted psychedelic electronic epics covered by harmonized acid rockin dynamics. Largely improvised and a dangerously lysergic sounding experience.
Arzathon is a prolific Audio Artist, there was a long gap during the nineties with very little output. He has also recorded in the past using the name Gypsy. These recordings are being reissued as Arzathon (the artist formly known as Gypsy). He has also collaborated on other projects such as Heavy Metal Vampires on Nuclear Waste & Trolls on Acid & Dreamtime Troubadours, with many different artists from around the world.
Falsini, born 1948 in Florence (Italy), moved to Virginia in 1969, where he set up a basement studio and experimented with a Moog and four-track taping before returning to Italy to form the band Sensations Fix .The group signed with Polydor Records in 1974 to a five-year, six-album contract.Later, in 1983, Falsini reappeared as guitarist and producer of the electro-pop group The Antennas, that released an LP and a single in France. The years after where mainly spent
to learn computer programming and how that could intereact with music recording. In the 90s he was producing techno music, dance oriented, with his own label Interactive Test. From the years 2000 his life becomes nomadic as well as his live appeareance and music production. In this last year his old work has been re-issue by many labels, most notably RVNG record and Spectrum Spool.
Musician, radio host and archivist, Don Campau has been active in music since 1969.From 1969-1974, Don, Geoff Alexander and other friends recorded as The Roots Of Madness, a bizarre, avant garde collective that released one record album in 1971. The early tapes are now also available as CDs. In 1971 Don also began hosting a radio program on KTAO-FM in Los Gatos California under the mentorship of Lorenzo W. Milam, one of the founding fathers of community radio in the USA. This show incorporated ethnic, avant garde jazz, baroque, modern classical, early home recordings and outsider material. In 1978 Don began hosting a radio program on KKUP-FM in Cupertino, California. At the time, the show featured jazz, ethnic, contemporary classical, improvised and some early home recordings. In 1985 the format of “No Pigeonholes” was established and became home recorded cassettes from the international home recording movement called “cassette culture”. The music covered many styles from rock,
folk, outsider, oddball, punk, electronic and much more.Don continues broadcasting home recorded, small studio and independent music from around the world not only on KKUP but also throughout Europe on Radio Marabu and also on the net on The Luver.comThe Lonely Whistle label was started in 1984 to house not only Don Campau albums but other releases from friends and musical associates.
I like to attend Irish and American Traditional music sessions to sing unaccompanied. I have worked with a tremendous Experimental Music group called Biota on an album called “Half A True Day.” Another album with them is currently underway. I write some songs but enjoy improvisation and singing devastating murder ballads.
Born Folkestone Kent 1948, lived in Canada for the last 40something years. Started as a drummer in local bands in Whitehorse, Yukon Territory in 1967, started to pick up guitar seriously in 1970. Played in various psychedelic outfits (notably a band called Oberon, which was the forerunner of another band called The Melodic Energy Commission (which at times included Paul Rudolf of Pink Faeries and Del Dettmar of Hawkwind) Moved to Ontario Canada and played in lots of bands, New Wave, Punk, Psych/Jam and ( Experimental at University of
Waterloo’s Independent Studies Program.) Became part of The AMBiENT PiNG community in Toronto, and have played pretty regularly at venues in Toronto associated with the PiNG. Lots of collabs, notably with Anne Sulikowski (Building Castles Out Of Matchsticks) and others. Solo project (recently expanded to a trio) The Devil In The Design HAROLD (psyche/jam band) and Moon Dandies with my wife Catherine Tammaro and Jeff Howard (also in TDITD and HAROLD)
A poet, writer, filmmaker, podcaster, artist, traveler and Registered Nurse. Working on a novel. Latest poetry book is BLUE ROOMS, BLACK HOLES, WHITE LIGHTS.
Brian has recorded 3 albums w/ Spaceseed and has written songs with members of Jefferson Airplane,Hawkwind and Moby Grape members. Brian’s a multi-instrumentalist plays and records w/ a Myriad of groups such as…Spaceseed, San Francisco Blue, Southern Ashe, Bibb City Rambers
I lived in Korea for 4 years. I was a Korean translator. I spent a year and a half doing nothing but 100% immersion in Korean culture and language. Before I went there I was out in California around 1983/84. I met my first group of improvisors with whom I established some kind of a kinship. It's what broke me away from jazz and progressive things, and the acoustic things I'd been doing in the late 70s. I realized that the way I play guitar is based on the fact that I started off in music on the trombone, and I really think like a horn player. At this point I know that, but back then I couldn't figure out why people had trouble learning my songs. And it's because some of the structures are melodically and harmonically really suited more for a brass section. You'll hear a lot of trombone-like things occurring, even in my acoustic music. I've been accused of playing slide when I'm not playing slide, when in fact I may be using a fretless instrument. My first label started out in 1983 and it was called Kamsa Tapes. And that was the first moniker under which I was putting my stuff out, and at the time I was doing this really dense, harsh guitar layering music. And that was more harsh music of that sort. At the time I was only putting my own stuff out, but there was some collaboration creeping in.
Links for Bret will be added, but if you search here in the archives you will find tones of stuff....
Rodent Tapes first appeared on the underground scene in the days before the www. A label which only dealt in underground music, the tape scene, home recorded music…these days with computors that once small underground scene has grown, and music is no longer being held hostage by corporations and with a bit of cyber surfing all kinds of exciting sounds can be found, for the most part a million miles from anything corporations would ever think of dealing in…no dollar signs to make many of these ventures attractive to corporations. You have as much chance of winning the lottery as recieving a recording contract, there just aren’t enough places to go around…never have been, never will be…Do it yourself…the only way to go…we don’t need big record …corporations they need us…the dreams they have to offer are in truth nightmares.
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I would like to thank Bret Hart for the use of his Duet Series. Some brilliant experimental and Avant Garde music in there own right. Below are links to the original recordings for those interested in having a listen.
Bret Hart's Art Space
released March 10, 2015
"Bret really scored with this duet with Scottish drummer and Tuvan throat singer Ken Hyder. I'd never heard of Hyder before Bret enthused about him, but cruising his web site it's clear he's had an interesting and varied career. In addition to performing and traveling all over the world, he has collaborated with such luminaries as Tim Hodgkinson (Henry Cow), Elton Dean (Soft Machine), Nick Evans, Phil Minton, and many others. Bret's free-improv works are often heavy on the percussives, so having an actual drummer participating is a treat. One of my favorite tracks is the spacey tribal free-jazz "Paltry Origin", with its steady drumming, playful piano, spacey efx, and whining howls. And I'm guessing the efx'd chanting is Hyder doing the throat singing thing. More of this singing style (along with some traditional Celtic song) can be heard on the 14 minute "Eurasian Chassis", which is a symphony of drum and percussion workouts. Another highlight is "Sibi Drone", which is not quite like the drone in the title would suggest. Hyder lays down some free-wheeling drumming while Bret conjures up some cool string manipulated sounds, all against a drifting wall of atmospherics and sedate background drones. An interesting set. There's a wealth of information at Ken Hyder's web site at: www.hyder.demon.co.uk
. Be sure and read the account of his trip to Siberia with Tim Hodgkinson." - Jerry Kranitz
"I know (from my own collaborative experiences) that there seem to be "phases" in an improvisor's works, where energy quotients on (nearly) all their productions are at a peak! Gourd knows that this cyclic nature of art makes for some VERY depressing moments when the creative urges are at an ebb... but the Hyder/Hart team are at a zenith stage on this CD! Actually, if mem'ry serves me correctly, I don't think I've heard Bret improvising against a percussionist all that frequently... but this guy Ken is a killah... & Bret, true to form, has no qualms about takin' th' plunge & experimenting in/around/over/under Hyder's source tracks. There are some reviewers who tend to write this kind of experimentation up as something that "anybody with a washboard & a guitar" could do... & while that may be true (in one sense), it is pure balderdash with music like this duo is playing. There is a certain "frame" that one's psyche must be in to produce music(s) this different from what our ears expect to hear... & even though I've listened to (about) a ton of Bret's "DUETS" series with various players, I am continuously surprised by the range of talent he & his collaborators exhibit. I go all the way back (in my listening) to the '80's with Hart's creative works... there was a high-energy phase then - & there is REALLY one (like a vol-phroggin-KANO) erupting now. Listeners who want to stay stuck in the "old fashioned" structures will detest this... but anyone with even a dollop of adventure in their blood will fall in love with this beautifully odd CD... I did... enough so that it gets our MOST HIGHLY RECOMMENDED rating!" - Rotcod Zzaj
Ken's site... www.hyder.demon.co.uk
Audio is generally created for live performance or scoring for visual art. While those traditional audio creation forms are wonderful there are naturally occurring limitations allowing audio sculpting to impress in its own way.
Audio sculptors are free to focus solely upon carefully sculpting audio in their studio in a natural way. Without coerced premature deadlines to meet other needs, an audio sculpture is truly done when it feels done by the sculptor. That allows an audio sculpture to be refined to a degree of sonic detail beyond (if not well beyond) the result provided by any other audio creation method, so allows the listener to be rewardingly immersed in (perhaps far) richer audio textures resulting in a deeply impressive sonic environment.
An audio sculptor is typically a composer, producer, and engineer.
An audio sculpture may be published in a basic form (perhaps ideal for background music), but then refined further for one or more later publications inviting the listener to become more focused and immersed in a deeper listening experience.
As audio sculptures often cannot be performed live, at least in the familiar way spanning music history. The ideal public environment for audio sculptures is the Internet. As audio sculptures are always available on the perpetual globally networked "stage", unlike a performance for which you may be unable to attend, those sculptures can be accessed in their prime form at any time.
As psychedelic, especially cannabis, legality continues to increase in formal recognition, the ability to experience audio sculptures in many powerfully new entertaining forms within the comfort of your home correspondingly adds value to this audio creation method.