Podcast 16: Night Sweats & Fever Dreams: A Live Discussion with Oli Spleen and Nick Hudson
September 26, 2020
Like Ho Chi Minh! Like Che Guevara! The Revolutionary Left in Ethiopia (1969-1979): An Interview with Ian Scott Horst (Online Group Video Session – 1st December 2020)
October 26, 2020

Tzadik Listening Session (Online Group Video Session – 3rd November 2020)

“Cartoon music for me was a real breakthrough in terms of musical form, how it was structured. It seemed to me that it was completely revolutionary for the time. Maybe it was in my subconscious from watching Road Runner as a kid or what-have-you, maybe it is all the kinds of music that is used, the quotations… I always loved Ives as a young composer, Ives was one of my favorites and cartoon music seemed to relate to Ives in some way in terms of quotation and different genres, everything being treated the same, in the same slapstick kinda way, but, you know, a little bit of jazz would appear, classical would appear, all these different kinds of things would appear and really in a new way, and it was really revelatory in a lot of ways and very inspiring. And I used to tape shit off the TV and I’d have all my little cassettes of… Road Runner was the best because there was no dialogue. I used to listen to it and try to imagine it without the picture. It is difficult because we are trained from children to tie those sounds together. You hear da-da-da-da-da-da, you hear someone going up the stairs, but I try to like, you know, listen to it as abstract music and learn something about musical form, maybe new ways of creating music, ways of breaking established ideas of musical development. Nothing is really developed in that music. What’s developed is what you see on the screen, so there is a drama going on. A drama is played out, but to the director the sound is secondary, to me the sound was primary. So I try to analyze some kind of new structures, and I think I learned a little bit about putting new sounds together by the analysis of what happens in Carl Stalling specifically, Carl Stalling’s Cartoon music. “
John Zone in Bookshelf on Top of the Sky: 12 Stories About John Zorn (Dir. Claudia Heuermann, 2002)


Composer John Zorn’s record label Tzadik has brought together some of the most intriguing and experimental music from musicians and composers such as Mark Degli Antoni, Mike Patton, Lesli Dalaba, Noah Creshevsky, Ikue Mori, Melt-Banana, Buckethead, Kayo Dot, Ayuo and Ohta Hiromi, Tangele and Naked City, and delving into experimental music from Japan to radical Jewish culture. In this session we will be listening to, and discussing, a selection of tracks from a range of Tzadik albums.
This session will be run as part of the Exploding Appendix Avant-garde Art Practice and Research Group’s fortnightly meetup, which will be taking place online via Zoom.  (https://us02web.zoom.us/j/7317698673) The meeting ID is 731 769 8673. The passcode is “go”. This session will be run by Bradley Tuck and take place on the 6th October 2020 from 19:30 – 22:30 (GMT). If you would like to join us for the session, or have any questions please message me at explodingappendix@gmail.com