Tape Music at the Schindler House













Tape Music at the Schindler House, MAK Center, Los Angeles, featuring William Basinski, John Wiese, Jim Shaw and Mike Kelley, Pauline Oliveros, Archives of the Cortical Foundation (Pandit Pran Nath, Derek Bailey, John Cage, Hermann Nitsch, Terry Riley). Tape Music is curated by Scott Benzel, with assistance from Cindy Bernard, Gregory Lencyzcki and Joseph Potts.


Courtyard: William Basinski (live performance), 5pm and 7pm

Marian Chace studio: John Wiese, Magic Crystal Blah (2005), 2pm, 3pm, 4pm, 6pm (John Wiese will introduce work at 6pm)

Clyde Chace studio: Cortical Foundation
Pandit Pran Nath, 4 VIII 71 SF Raga Malkauns (1971), 2:15pm Derek Bailey, Incus Taps, 3:15pm
Terry Riley, Dorian Reeds (1966) and You’re No Good (1966)

4:15pm and 6:15pm
John Cage (with Juan Hidalgo and Walter Marchetti),

Prepared Train (“Alla ricerca del silen zio perdutoalso”

called: “Il Treno”), 5pm
Hermann Nitsch, Das 6-Tage-Spiel Des Orgien

Mysterien Theaters (1998) (excerpt) , 6:45pm

Pauline Schindler studio: Pauline Oliveros
Bye Bye Butterfly (1966), 2:45, 4:15, 5:45, 6:45 I of IV (1965), 3:15, 4:45

Rudolf Schindler studio: Mike Kelley and Jim Shaw Kelley / Shaw, Tape Collage (1975), 2:15, 6:15
Jim Shaw, Guitar Tape Loop (1975), 2:30, 3:15, 6:30

When composers first began to write music on computers and electronic instruments, the only way for them to perform those works live was by playing back a tape recording. This was the origin of the tape concert. The audience sat facing a pair of speakers, with the tape recorder and sound equipment behind them. The sound engineer was thought of as a technician not a musician (almost like the conductor.) The speakers took the place of the instruments. As technology changed, computers and synthesizers became more portable, and tape concerts faded away. Today, musicians play back their compositions on laptop computers, but the controversy over what constitutes a live performance and what constitutes the instrument remains.

–Joe Potts


10th Anniversary 1999 – 2009

The Society for the Activation of Social Space through Art and Sound

William Basinski is a classically trained musician and composer who has been working in experimental media for over 25 years. His epic 4-disc masterwork, The Disintegration Loops, received international critical acclaim and was chosen as one of the top 50 albums of 2004 by Pitchfork Media. Artforum selected The River, his 2-disc shortwave music experiment, as one of the top ten albums of 2003. His concerts, installations and films, made in collaboration with artist-filmmaker James Elaine, have been presented internationally, most recently at the Venice Biennale of Music (Venice, Italy), Happy New Ears Festival (Belgium), FOCUS ONE Festival (Poland), Filosophia Festival (Carpi, Italy), and Cite de la Musique (Paris), among others. Basinski’s latest albums, 92982 and Vivian & Ondine were released in 2009. The Wire magazine selected 92982 as one of the top 50 releases of 2009.

From 1992 to 2001, Gary Todd was on a one-man mission, tirelessly tracking down aging reels of magnetic tape containing historically important works of experimental music, some of which had never even been heard. The most spectacular example of this was Todd’s discovery of long-buried tapes containing some early Terry Riley pieces that he had only read about including The Gift, a prototype tape-loop piece from 1963 with jazzman Chet Baker and a precursor to In C. “They’d been down in his barn for 15 years in this garbage can. They were on their way to the dump, essentially.” Todd digitally transferred the tapes and released them on his Cortical Foundation label,
organ of Corti.

Todd managed, similarly, to beg, hound, schmooze and cajole obscure works from the closets and garages of dozens of others besides Riley including: Derek Bailey, John Cage (with Kenneth Patchen), Hermann Nitsch, Cornelius Cardew (Scratch Orchestra), Henri Chopin, Intersystems, The Los Angeles Free Music Society, Morphogenesis, The POETICS (Mike Kelley, Tony Oursler, Jim Shaw), Stephen Prina, and Pauline Oliveros.

In September 2001, Todd suffered a very serious fall, resulting in severe brain damage, which left him unable to talk or move. Since then, he has made incredible progress in regaining speech and mobility, but the Cortical Foundation ceased to function and most of its releases are now out of print.

Jim Shaw and Mike Kelley formed the band Destroy All Monsters with Cary Loren in 1973 in Ann Arbor, Michigan while attending the University of Michigan. Shaw and Kelley relocated to Los Angeles to attend the California Institute of the Arts in 1976 and continued making experimental music as they began to embark on visual art careers. The tape col- lages presented here are examples of their work together during the 1970s. Shaw and Kelley have exhibited their art- work to international acclaim over the past 30 years. Kelley, who died this year, will be the subject of a major retrospec- tive exhibition being planned for the reopening of the Stedelijk Museum, Amsterdam, later this year,- which will travel to the Museum of Contemporary Art, Los Angeles in 2014.

Pauline Oliveros is one of the foremost composers of the 20th and 21st centuries as well as a pioneer of electronic music, alongside forerunners like Morton Subotnick and Terry Riley. She was one of the original members of the San Francisco Tape Music Center, where she continued her explorations in electronic improvisation. From 1961 to 1966, the Tape Music Center became an integral part of the San Francisco music scene, with a growing subscription audience for its monthly concerts and favorable reviews in the San Francisco Chronicle. In 1966, the center moved to Mills College in nearby Oakland, California, with Oliveros as its first director. She is the recipient of the Gaudeamus Foundation Contemporary Music Center Interpreters Competition Prize, 1962; The Guggenheim Fellowship, 1973; The Dance Theater Workshop Bessie Award, 1991; and The Society for Electro-Acoustic Music in the United States Lifetime Achievement Award, 1999.

John Wiese is an artist and composer residing in Los Angeles. His ongoing projects include LHD and Sissy Spacek, as well as collaborative work with GX Jupitter-Larsen, Sunn O))), Wolf Eyes, Merzbow, Evan Parker, Smegma, Kevin Drumm, Cattle Decapitation, C. Spencer Yeh (Burning Star Core) and Kommissar Hjuler und Frau. He has toured extensively throughout the world, covering Europe, Scandinavia and Australia as a member of Sunn O))), the UK as part of the Free Noise tour (a tentet including Evan Parker, C. Spencer Yeh, Yellow Swans, etc.), and the United States alongside Wolf Eyes. He recently performed in the 52nd Venice Biennale with artist Nico Vascellari.

Tape Music is curated by Scott Benzel, with assistance from Cindy Bernard, Gregory Lencyzcki and Joseph Potts. Sound Engineers: Scott Benzel and Gregory Lencyzcki

sound. at the Schindler House is presented in conjunction with the MAK Center for Art and Architecture, L.A. Schindler House 835 North Kings Road, West Hollywood, CA 90069 ph: 323 661 1510