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Sendung vom 30.08.2018:

radia # 700 We All Emerge Some Hours Later und DIE ZWEITE HÄLFTE

two shows by resonance london

Radia Series 41 Number 700: We All Emerge Some Hours Later
by James Greer and Neil Luck


Tokyo is a city in a continual state of performance, a panoply of lives compressed into a dense metropolis. Underneath all the glossy commerce, all the confronting pop culture, all the tourists, however, is the city’s strange and fascinating underbelly - a rich strata of human subcultures. Over one humid, woozy summer weekend James Greer and Neil Luck traverse the marginalia of Tokyo at night, negotiating its train lines, visiting deserted bubble-era ghost towns, underground jazz venues, salaryman drinking spots, and a tiny bar repurposed as a theatre. "We all emerge some hours later, baffled" is their disorienting mix of reconfigured field recordings and half remembered reflections.

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DIE ZWEITE HÄLFTE
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Sketch For Matter by Ed Baxter
The opening sequence of the Michael Powell/Emeric Pressburger film A Matter Of Life And Death
(1946) provides the inspiration and much of the raw material for this fugitive mediation on the
romance of radio, heavily influenced by the delightful theories of Friedrich A. Kittler. The audio
comprises a) a nine second cymbal crash removed from the final edit of an album by Kinnie The
Explorer, recorded by Bob Drake and “PaulStretched” to 28 minutes by Dan Wilson; b) Foley
aircraft sounds from the film soundtrack; and c) dialogue from the film soundtrack, featuring
David Niven (Peter) and Kim Hunter (June). Assembled as an outline for a live work planned for
the “Writtle Calling/2 Emma Toc” radio project, it pretends to be nothing more than a tentative
exorcism of the overwhelming feelings this film sequence provokes in me – which are such that I
can never watch it without bursting into tears. (It is surely designed to allow one to burst into tears
in the dark). I have the DVD but have yet to get beyond this opening, which I must have watched a
hundred times.
The piece quite accidentally functions as an antidote to its allusive usage in the opening ceremony
of the 2012 London Olympic Games, of which exercise in spectacular infantilism I was not aware
until I started googling to check my references. Ceremony director Danny Boyle and I both featured
in a 2009 newspaper article, the layout of which was such as to allow our faces to be pressed
precisely together when its pages were closed – in a print media kiss as absurd as the radio romance
of Peter and June is sublime.