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Myke Weiskopf | 30: A Retrospective 1976-2006

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United States - Mass. - Boston

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Electronic: Experimental Electronic: Pop Crossover Moods: Mood: Brooding
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30: A Retrospective 1976-2006

by Myke Weiskopf

Smart and idiosyncratic grassroots avant-garde electronic pop which welds tape cut-ups and shortwave soundscapes to melodic micro-compositions.
Genre: Electronic: Experimental
Release Date: 

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  Song Share Time Download
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1. Interval Signal
Myke Weiskopf
0:39 $0.99
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2. Ascension Island
Myke Weiskopf
3:26 $0.99
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3. Arbitrary Music [Edit]
Myke Weiskopf and David Eschatfische
2:52 $0.99
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4. WWV [Collapsible Jerk Mix]
Myke Weiskopf
2:13 $0.99
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5. Monograph on Water
Myke Weiskopf
3:54 $0.99
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6. [untitled]
Myke Weiskopf
0:13 $0.99
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7. Spiral Weight
Myke Weiskopf
1:59 $0.99
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8. [untitled]
Myke Weiskopf
0:30 $0.99
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9. Wonderful
Myke Weiskopf
3:57 $0.99
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10. Grupo Communisto 2
Myke Weiskopf
1:57 $0.99
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11. Interlude 2: Faders
Myke Weiskopf
2:20 $0.99
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12. Attack Warning
Myke Weiskopf
6:16 $0.99
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13. The Grotesque
Myke Weiskopf
2:02 $0.99
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14. Ghost Opera Loop
Myke Weiskopf
2:20 $0.99
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15. Cloud Cover
Myke Weiskopf
1:01 $0.99
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16. Truth Will Out
Myke Weiskopf
2:45 $0.99
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17. Cower [Science Park Mix]
Myke Weiskopf
2:34 $0.99
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18. [untitled]
Myke Weiskopf
1:33 $0.99
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19. Speaking In Tongues
Myke Weiskopf
3:31 $0.99
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20. Keep Laughing
Myke Weiskopf
3:06 $0.99
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21. Between the Wars [Piano Demo]
Myke Weiskopf
2:41 $0.99
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22. Driving at Midnight [Demo]
Myke Weiskopf
0:50 $0.99
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23. Meaningful & Fulfilling Relationship
Myke Weiskopf
0:19 $0.99
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24. Nevada Sign
Myke Weiskopf
1:57 $0.99
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25. What I was going to say is
Myke Weiskopf
3:53 $0.99
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26. BBC
Myke Weiskopf
0:36 $0.99
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27. An Optimist on Election Day
Myke Weiskopf
2:07 $0.99
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28. 0-253
Myke Weiskopf and David Eschatfische
1:58 $0.99
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29. The Final Dream
Myke Weiskopf
2:37 $0.99
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30. Travelogue [Science Park Mix]
Myke Weiskopf
3:21 $0.99
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31. ...if you can hear me
Myke Weiskopf
4:33 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
A precocious and hyper-prolific fanzine publisher, multi-instrumentalist, basement pop producer, sound recordist, and shortwave radio fanatic, the first 25 years of Boston-via-Chicago songwriter Myke Weiskopf's life were structured around an insular and obsessive drive to capture the world in sound. Weiskopf amassed thousands of hours of tape and released dozens of homebrew cassettes before moving to Boston in late '95, where he recorded three acclaimed electronic pop albums under the pseudonym SCIENCE PARK before retreating from the music industry in 2001.

On the occasion of his thirtieth birthday, Weiskopf resurfaces to commemorate the fifteenth anniversary of his life in avant-garde pop with a 74-minute audio autobiography entitled 30: A Retrospective 1976-2006. Starting in 1991 and rubber-banding through the years in a ProTools-powered time machine, 30 offers an impressionistic portrait of a life lived solely for the love of sound. Containing highlights of the material that inspired publications from SPIN Magazine to the Boston Globe to herald Weiskopf's fast-blooming talent, the bulk of the disc is given over to the previously-unreleased work that privately defined his vision: found sound, shortwave interceptions, demos, alternate mixes, and other aural miscellany.

30 is a compelling, quixotic, melodic, entrancing, and singular body of work, recommended to fans of the Conet Project, Holger Czukay, Folk Implosion, Art of Noise, His Name Is Alive, NPR’s Lost and Found Sound, Magnetic Fields, the Tape-beatles, and They Might Be Giants.

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Reviews


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Mark Beckwith, shortwave geek

Unmatched use of over-the-air content and minimalism
Attention shortwave geeks, this review is for you. Disclaimer: I'm not the type to wax poetic about the genre of modern pop music. I'm a retired opera singer so I spent my life under a rock where pop culture is concerned. I think I can recognize the influence of early David Byrne on Weiskopf’s art (did I spell his name right? Did I spell both of their names right?), but that’s about the most pithy thing I can say about that. I am also a world-class shortwave nerd, so I can hold my own on that side of the equation: Over-the-air material penetrates “30: A Retrospective 1976-2006” deeper than it does the works of comparable artists, and he uses it more effectively. The most exceptional difference, which I feel elevates Weiskopf to unchallenged status, is this: there is a romance and intrigue inseparable from shortwave, and Weiskopf knows it, understands it and how to use it. I hope he might indulge this incurable shortwave romantic and notch up the over-the-air content about 20% sometime - he’s on to something that takes me deep inside myself and speaks to the long-since abandoned World Person of my innocent days. Be warned – Weiskopf’s minimalist approach to “Attack Warning” (track 12) is every bit as masterful as John Adams’ “Short Ride in a Fast Machine” or “Nixon in China”, and has the power to leave you exhausted, frightened and agitated. Strong stuff that minimalism, and Weiskopf can hold his own. If you appreciate the romance of the short waves, you’ll enjoy “30: A Retrospective 1976-2006.”
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gota


Although unknown, if you are looking for a guy who is passionate about radio, as well as actively releasing CDs like an industry pro, Myke is your guy. A "shortwave-surfer" and "shortwave avatar" is how he is known. His instrument is a Kenwood R-5000 Communications Receiver, both a source of his material and inspiration.

Furthermore, if you will recall the CD collection of cryptographic world broadcasts from The Conet Project (see Wilco/Yankee Hotel Foxtrot), if Myke's name rings a bell as contributor, you realize that he is not simply mono but totally stereo. (^^;) As for his album, the title is meant to be a sonic autobigraphy of raw Myke from the ages of 14 to 28 in 30+1 tunes. It meanders in the art of sound from ambient to rock (which is sung personally by him as Science Park) to '80s electropop. Myke's vocals are a little weak (but never is it not skillful! ^^;) but as time goes on, they have noticeably gotten better.

Radio sounds are freely used throughout the CD. (perhaps too much! ^^;) As for the radio sounds, they are not excessively processed but rather used straight up; it is not only using the acoustic material itself, but the critical use thereof which is unique. With one of the electronica songs, there are also some radio sounds which hook to the rhythm, leaving the impression of being different from back back. That being said, this CD has limitless sounds of the radio that would be tedious to list. You may ask about this CD and pass on it, but Myke's love of music and radio is clear. I also love music and radio, and I feel a deep rapport with him and his expression thereof.

This CD illustrates the locus of work Myke has put forth in the past ten years. I expect in the future to see only more and better work from him, and I see great potential in him. I can feel it in the tracks he has already put out, which I have deeply taken in.

There is a tendency where those from the previous generation inspire those in the future. Artistic expression such as this CD is evidence of radio as a powerful medium.
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Prince Gomolvilas, Host of BAMBOO NATION Podcast

Discovering an Undiscovered Gem
For me, experimental music often collapses beneath the weight of its own experimentation. I mean, sure, I understand why artists would want to play with soundscapes, create cool aural experiences, and reframe the idea of what music can be--it is their desire to emit a nose-thumbing screech of defiance to an industry that drips in pop excess and celebrates style over substance. But experimental music doesn't make for a particularly enjoyable experience (I'm a sucker for joy; shoot me) unless you're high, doing yoga, or in a David Lynch movie (and even the latter is in question). MY ears demand definitive melody and strong hooks. However, a few musicians who have delved into the world of "experimental" music (and I use the term very loosely here) have managed to make it onto my MP3 player: Stephin Merritt, Kid Koala, Mirwais, and Cat Five, to name a few. The common thread among them? They don't drown in their own self-importance. And their aim seems to be having fun and wanting others to have fun, rather than daring to be different for the sake of being different and secretly wishing to be labeled a "pioneer" on alternative music blogs.

"30: A Retrospective 1976-2006" is a generous 31-track collection of Myke Weiskopf's forays into different types of "sound": a diverse and inviting anthology of sampled audio over hypnotic beats, instrumental pop, other-worldly noises, and "found sound." But the bulk of the album gives way to accessible experimental pop music, highlighted by Weiskopf's coolly unpretentious vocals. You see, Weiskopf is avant-garde enough to mess around with the effects capabilities of ProTools, but he's smart enough to want to be liked--so he's compiled a disc that encourages us to alternately sing along, bob our heads, tap our feet, dance. But those who need music that they can trip to can find comfort in this album as well because there are many fine examples of a sound geek's love for technology. Because this compilation spans a career, it lends itself to variety. Every track redefines your idea of Weiskopf as an artist. Bouncing from "experiment" to "experiment," it all goes down easy, and even the shortwave radio interceptions (which seem apropos of nothing) invite repeated listening and make the cut onto my Creative Zen V Plus. (For radio- and ear-friendly tracks, check out "Ascension Island" and "WWV"; for cool sound trips, check out "Wonderful" and "Attack Warning.")
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Gucky

Amazing, touching, lovely, lonely and everything I'd hoped for.
As a fan of Weiskopf for some time, I've heard about half these tracks before. However, the way they're put together – the segues, the flow from one track to the next – it's truly a beautiful collection that holds together as listenable loveliness from the first moment to the last.

It obviously spans his eras, fascinations and phases and they're all wrapped together in a intimate musical package. The uber-polished tracks juxtaposed against the more impromptu sounding emotional moments make it all the more real for me.

I can't recommend it highly enough.
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