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Contents
editorial
NEVILLE DUBE
“What shall we do with the tools?”
PALESA MOTSUMI & TARIRO MUDZAMIRI
The Impact of Covid-19 on the Arts in South Africa
Theme Africa Synthesized
CARINA VENTER & STEPHANIE VOS
Africa Synthesized: Editorial Note
GEORGE E. LEWIS
Recharging Unyazi 2005
MICHAEL KHOURY
A Look at Lightning – The Life and Compositions of Halim el-Dabh
KAMILA METWALY
A Sonic letter to Halim El-Dabh
SHANE COOPER
Tape Collage
ADAM HARPER
Shane Cooper’s Tape Collage – a living archive
HANS ROOSENSCHOON
Tape loops: Cataclysm (1980)
STEPHANUS MULLER
Hans Roosenschoon's Cataclysm: message in a bubble or mere spectacular flotsam?
SAZI DLAMINI
Composing with Jurgen Brauninger: 1989-2019
LIZABÉ LAMBRECHTS
The Woodstock Sound System and South African sound reinforcement
CATHY LANE
Synthesizer and portastudio: their roles in the Tigrayan People’s Liberation struggle - an audio essay.
MICHAEL BHATCH
Africa Synthesized: A Sonic Essay
NEO MUYANGA
Afrotechnolomagic before the internet came to town – How electrons made Africans in music zing
NIKLAS ZIMMER
Interspeller (some B-sides)
WARRICK SWINNEY
House on Fire: Sankomota and the art of abstraction
MAËL PÉNEAU
Beatmaking in Dakar: The Shaping of a West-African Hip-hop Sound
ARAGORN ELOFF
Materials of Relation: A Sonic Pedagogy of Non-Mastery
BRIAN BAMANYA
Afrorack
ZARA JULIUS
(Whose) Vinyl in (Which) Africa? A Zoom Fiasco
galleri
SLOVO MAMPHAGA
Mandela is Dead
&and
Undercommons
HUGH MDLALOSE
Jazz Speaking
IBUKUN SUNDAY
A Peaceful City
NIKKI SHETH
Mmabolela
PIERRE-HENRI WICOMB
A Composition Machine
SONO-CHOREOGRAPHIC COLLECTIVE
Playing Grounds: a polymodal essay
STELARC & MAURIZIO LAZZARATO
Parasite: A Government of Signs
JURGEN MEEKEL
The Bauhaus Loops
borborygmus
KING SV & MARCO LONGARI
The Black Condition
SIPHELELE MAMBA
Enough is enough
SEGOMOTSO PALESA MOTSUMI
Explaining racism
KHANYISILE MBONGWA
Mombathiseni UnoDolly Wam
PHIWOKAZI QOZA
Choreographies of Protest Performance: 1. The Transgression of Space
TSEPO WA MAMATU
The Colonising Laughter in Leon Schuster’s Mr. Bones and Sweet ’n Short
ANA DEUMERT
On racism and how to read Hannah Arendt
TALLA NIANG
Sembène Ousmane
MAVAMBO CHAZUNGUZA
Sacred Sonic Cosmos
GRAYSON HAVER CURRIN
The Saharan WhatsApp Series - an Experiment in Immediacy
BEN EYES
Cross-cultural collaboration in African Electronica
STEVEN CRAIG HICKMAN
The Listening of Horror
MICHAEL C COLDWELL
The Noise made by Ghosts
GABRIEL GERMAINE DE LARCH
I will not be erased
frictions
JESÚS SEPÚLVEDA
Viaje a Tánatos
KATYA GANESHI
From Beyond the World of Dead Sirens
RIAAN OPPELT
(Ultra) Lockdown
SINDISWA BUSUKU
Let’s Talk Kaffir
JOHAN VAN WYK
Man Bitch
MAAKOMELE R. MANAKA
Four Indigenous Poems
claque
KOLEKA PUTUMA
Language & Storytelling: On Zöe Modiga’s Inganekwane
LINDELWA DALAMBA
After the Aftermath: Recovery?
ATHI MONGEZELELI JOJA
Uninterrogated Phallophilia
HILDE ROOS
Sicula iOpera – a raised fist?
PAUL ZISIWE
19 Feedbacks
TSELISO MONAHENG
How to build a Scene
WAMUWI MBAO
Struggle Sounds
MKHULU MAPHIKISA
Short but not sweet: Skeptical Erections and the Black Condition
MBALI KGAME
Tales from The UnderWorld
ekaya
STEPHANIE VOS
The Exhibition of Vandalizim – Improvising Healing, Politics and Film in South Africa
MARIETJIE PAUW, GARTH ERASMUS & FRANCOIS BLOM
Improvising Khoi’npsalms
off the record
KHADIJA TRACEY HEEGER
Lewis Nkosi – treasured memory
LEWIS NKOSI
Jazz in Exile
EUGENE SKEEF
Chant of Divination for Steve Biko
BRENDA SISANE
How I fell in love with music
SAM MATHE
Skylarks
THOKOZANI MHLAMBI
Early Sound Recordings in Africa: Challenges for Future Scholarship
MARIO PISSARRA
Everywhere but nowhere: reflections on DV8 magazine
DEREK DAVEY
Live Jimi Presley 1990-1995
HERMAN LATEGAN
Pentimento
ARGITEKBEKKE
AFRIKAAPS compIete script deel 3
feedback
PHILLIPPA YAA DE VILLIERS
An urgency to action
PABLO VAN WETTEN
Sort of a ramble
the selektah
PONE MASHIANGWAKO
Artists' Prayer - A Tribute to Motlhabane Mashiangwako
hotlynx
shopping
SHOPPING
Purchase or listen
contributors
the back page
MICHAEL TAUSSIG
Unpacking My Library: An Experiment in the Technique of Awakening
© 2024
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    #04
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PAUL ZISIWE

19 Feedbacks

That moment when sound causes a dance of phosphenes, as my eyes shut tightly to a somewhat soothing melancholy, and in embracing dystopian thoughts with magical sympathy of melodies, I am spellbound by feedbacks in 19 versions.

These somewhat unmusical ideas distilling sonic collages in my mind as I sit are experiments by French artist, Dominique Grimaud.

Introduced to his work through an online alternative cult techno-politan music haven, I was soon dumbly scrolling through infinite choices of unheard sounds. And with Feedback 19, I was brain-wrecked by burning balls of short renditions of otherworldly musical innovativeness.

Calm, folksy and yet invested in the technological, 19 Feedbacks are what the title says they are, but with a slightly contrived air of delirium on the part of the artist, who seems rather hell bent on waking single notes into crescendos. Partly cleaved from sampling well-known ditties of 60’s and 70’s pop-culture, among other illusive rhythms of subverted musical ventures in dub of the 90’s, this offering from an apparent veteran has introduced me to soundscapes of infernal peace.  

An aural orb created by electronic sound layers on organ chords In The Middle Of The Dream, given to symbiosis of unprecedented sonic diversity – multiple worlds distilled into singular testaments that trick our fantasy to dive into an imaginary world.

By transmutation of a brassy sample in I Said Tea from its ancient form, laying a strong emphasis on its unheard and distorted bass spectrum, certain colors begin to scale through the maze Grimaud creates. Only when his electronic instruments emerge as principal vehicles of his musical impulses, Dominique subtly, with monotonous repetitive attentiveness, proves that through experiment extra-musical qualities of music begin to mutate.

Hints of chromatic suggestions winding through wryly titled tracks; I still find Daddy a drearily haunting drone of looped bass chords mingled with organ chords hiding in the middle of this dream. Grimaud’s pulsating electronic devices are tuned to provide uniformity, with a series of over-toned adlibs mingling with other musical instruments – this high degree of dissonance is psychopathic acoustics.

Listening to the sibilant start of Green And Blue, deceptively followed by morse-coded pulses twitching in dissonant tones; it is in such synthetic drones, where sound bears resemblance to a cacophony of one’s mind at dawn, that Dominique Grimaud’s 19 Feedbacks crafts an ambient dream within a waking nightmare.

Each mesmerizing experiment showcases crudely joyful hooks of paranoia; sophisticated at times, but draped in a nostalgia, which I suppose results from a love for the music of a time gone by.

And like a gloomy puppeteer, he uses each original as a toy, dangled before us from a stage constructed by our moods. All these feedbacks become like crumblages hinting at a sonic-manipulation aimed towards a defined end that is each artwork.

Perhaps, Dominique is providing a blueprint of sounds for a dystopia currently being inaugurated through global lockdowns? Of that I am not sure, but this collection of surreal allusions to originals remains a masterpiece of its own standing.

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HILDE ROOS
TSELISO MONAHENG
© 2024
Archive About Contact Africa Open Institute