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SPECIAL SOUND: The Creation And Legacy Of The BBC Radiophonic Workshop – Louis Niebur. Page 29. Excuse shitty iPhone photo of the page in question, no time to run the scanner tonight:

Further down the page, there’s also this:

…he disavowed its comparison to music by noting that the BBC has chosen the term ‘radiophonic’ over the more controversial musique concrete and that the work they are to hear is a completely new genre, the radiophonic poem… ‘a poetic experience that only exists in terms of a sound complex.’

These were the days, you see, when you could hear Samuel Beckett plays on the (national) radio, and producers realised that the only way his bad dreams could be presented in audio was to accompany them with dream-sounds that could not occur in reality.

I don’t know that there’s anything in British radio that continues this today, beyond the work done at Resonance FM. You could, if you felt so inclined, probably draw a line between the 1956 BBC radio production of Beckett’s ALL THAT FALL and, say, the latter work of Moon Wiring Club.  The connection between the radiophonic and the supernatural, of course, remains strong in the work of many purveyors of the Confusing English Electronic Music — Belbury Poly and the Broadcast And The Focus Group project to name but two.

(Go here for Moon Wiring Club’s six favourite pieces of Confusing English Electronic Music in 2010.)

I was talking with Adam Drucker — cLOUDDEAD, Doseone, Anticon and the co-composer of the music for Alan Moore’s most recent spoken word piece, UNEARTHING — the other day, when it occurred to me that Bandcamp would be the most perfect home for the radiophonic production.

Anyway, completely random, just wanted to get the bookmark and the thoughts down before they vanished into the ether…

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