Over the time cliff

words and photo by: Telegraphy

  11:00 pm December 31, 2012 should be the time when I'm out having fun but no I'm here writing this
for you, gathering my thoughts and wisdom of what transpired in the past 365 sun cycles. So as I reminisce of what happened or what should of - I've come to the conclusion that 2012 for ionosonde recordings was a great year ( artistically speaking). Telegraphy has evolved more so then in any other year, all thanks to better equipment and of course greater feed back from you the audience.    

 With this in mind, Telegraphy has unleashed himself from the occult electronic music world and into the exposed sound environment. With opportunities abound, Telegraphy has two tracks that will be release on an actual record label - namely heterodyne records  which will be released on a various artist  L.P. due out in January of 2013. Yes this will be the first time where you will have to pay to here Telegraphy.

Eggie Kishnoshky - abandon projects just outside
                                  downtown Detroit
  But enough of Telegraphy. Ionosonde recordings has manifested itself in a way I've never expected it to be: The only true one artist underground netlabel in Detroit. No one has done it in this town but ionosonde. So now as it's nearing that witching hour where I'll go outside and make some noise, and then only to have that noise suppressed by the thundering sounds of semi and fully automatic guns being fired off at midnight here in Detroit. I'll leave you with a end of the year appearance by the most mysterious  Polish American from hamtown U.S.A. ( Hamtramck ) the city inside of Detroit. Eggie Kishnoshky, who is posing for the camera at an abandon project just on the outskirts of downtown Detroit, presents you a gift to usher in the new year. A old transmitting vacuum tube in hand, a 813 tube to be exact, as a metaphorical gesture for 2013.  

               Happy new years and solitudes from Detroit

The Last Solstice

"I'm still here. Your still here. Everything is the same as it was a day ago."
                                                               Telegraphy December 21, 2012

  So what if the world ended on this date? What if we never had the chance to to save ourselves. Would all of us perish only to have our spirits transported to a different dimension while the loonytics  who built their own boom shelters would survive and bread more loonytics ? Would Telegraphy have been able to make this video of a improvisational minimal / ambient track just before the 21st and have watch it?


Watered Down Focal Point

cover by: Telegraphy

 Improvisational dubtechno from Telegraphy. Using field recordings from inside of a moving car traveling down a major highway in Detroit during a heavy rain storm was chosen as a back drop for this sporadic production.    

track listing:

01: Watered Down Focal Point.....10:22 min

02: Watered Down Echos.............10:26 min

03: Watered Down Drinks.............10:37 min

04: Watered Down Water.............8:20 min

download zip 90.9 Mb

Forty days until December 21, 2012

Forty days till December 21 2012 [2]
words and photo by: Telegraphy

Almost a month away from the suposive end of the world (December 21, 2012) which was foreseen by the Incas, or was it the Mayan calendar. Who ever it was, they predicted a major change in our modern world but even though we know that there was a prediction, what we don't know is what kind of change was foreseen. Some theorist suggest a massive catastrophic change in the earth itself such as shifting of the magnetic poles or a massive asteroid will hit the earth, wiping out everything. To contrast these gruesome predictions, others suggest  humanity will reap new understandings in conscience that will re-engineer our genes to produce a more god like human. What ever it's going to be, one thing we can count on is that our personal lives will change on December 21, 2012.

Forty days till December 21, 2012 [1]
So how dose this tie into these distant looking photos that resident artist Telegraphy shot the other day? Well for one he did some great research on the occult side of downtown Detroit (Stonehenge of Detroit) which revels the alignment of some streets in the downtown area of Detroit are astrologically significant. Sort of like Stonehenge, that astrological calender in Scotland where all of those pagans meet on summer solstice to do..... Well to do what pagans do best; dance and play music while saying ,"So mote it be". This Stonehenge of Detroit is like a calender, a big urban calender that coincidentally is the epicenter for the whole of Detroit. Most streets in this city are based upon the alignment of this occult instrument, an instrument that may or may not point to an astrological event on December 21, 2012 un-other then the rising sun.
   On this date at sun rise , Telegraphy shall be present, recording what might be the must significant event in human history. The misfortunes of last years winter solstice research event, where the cloudy overcast skies inhibited the rising sun for viewing, will hopefully not repeat itself this year. On Sunday November 11, 2012 with ancient predictions in mind, Telegraphy composed these photos exactly forty days before this unprecedented date.The intentions of these photo's is to somehow treat the viewer to a futuristic scene of Detroit. A glimpse into post-December 21, 2012.        

Minimal Technika liveset

As recorded on November 3, 2012 at Ionosonde Studio, this forty minute deep dub experimental set, used tracks from the EP "Minimal Technika". Telegraphy takes a late night escape from the worldly reality of metro Detroit and journeys to different sound environments.


track listing:

01: Minimal Technika (liveset).........................41:39 min

download album

Why so free (spilling the beans about ionosonde)

Telegraphy: as always, doing things the hard way.
  So why dose Telegraphy give away his releases for free, without charge? As an artist you do one of two things with your material. 1: Create art on the premise that you do it all the time and it come naturally. Doing it for the love of it and you don't care weather or not someone else likes it. 2: Making it and running with it all the way to the bank. To make a career out of your art is very risky, all of the contents of your work depends on how popular or likable your art is going to be with a broad range of a music listening audience (hence, pop art).   

  Ionosonde Recordings is definitely not in the second category. I always thought of this project (Ionosonde Recordings) has a way to cultivate creativity. Being the second category inherently trades creative thoughts for creative financial cunning, it's by far no place for me to play around in. I just don't see a viable nich in the music making market for Ionosonde Recordings to be in. It's hard enough to run a one artist netlabel with all of distractions in my daily life such as my day job (which doesn't pay the bills) and other daily choirs, it's amazing to look back and see all of the time I spent working hard to put together this project literally from nothing. Saving up for equipment, learning how to run a netlabel, setting up a webpage, mastering, advertizement, writing, all of these trades I learned on my own. No one showed me how ( and those WikiHow pages on how to run a netlabel, they only tell you the bear basics).

So, why so free? I feel that my material isn't "record label quality" in the sense that the music I produce dose not fall into the second category. Not wanting to sound as if I'm selling myself short artistically but sometimes an artist has to look at their work realistically and make a decision weather or not said work is equipped with the proper mechanisms for a worth-while sale. A buyabul album must have the  sound, which is popular among many different types of music listening individuals. My audience isn't broad enough for a record company to make money.  I hate to sound negative about myself as an artist, but the fact is that my music and writing is created for my pleasure and not to tickle the toes of a record executive. If along the way a person should feel the need to download one of my songs, GREAT! If someone else doesn't, thats great as well. I'm just happy that one person listened to it. To charge money for an album that no one will like is a direction that I'm not willing to take. So I just give my work for free.

                                              Thanks for downloading the free sounds!
                                                      What do you think?
  Should ionosonde recordings start charging for downloading? Should we get into the record making business? Comment down below and tell us!              

The Cabbage Patch III

words and photo by: Telegraphy

The angry teenybop mob danced around the dicoball maypole in the middle of the street.

With patented green back note shoes, they flaunted upheaval in the ranks of inebriated parents in the rustic cabins. 

Four score and seven years ago we ploughed a field ontop of the ghost of another field only to see it grow cabbages.

The weight of my green dept laiden shoes slowed my march down the main drag, just enough for the tax man holding liberties torch to trip me down the alley stair case.

 The stress from the worlds best job can only be seen in the eyes of the enraged resident.

"Hey buddy, can you hold this door open for me as I close it in your face". "Sure, why not. I can only lose this race".

Night time sky lighted by the scandalized woman sense of  heart brake.

Crickets in there evening dresses chirp, and then swig. Chirp, and the swig back another. Stumbling around with gaseous malodorous language, they ingest cultured class ideology's, one garbage-man at a time.

Hey! That victim of thoughtless class warfare is situated on that monogamous bus stop bench and is eating his own hard earned money. "Someone, STOP HIM"!

The bath of salts gave birth to a 30 year old newborn. Strutting down the center of the road like a mayor in which it was bequeath to him in a drug induced haze and walked to his liquor plaice.

Empty houses taking deep breaths of releaf after their buzzed and somewhat inexperienced collage tenets leave a trail of unfulfilled loans for a different city.

Four score and seven years ago we ploughed a field ontop of the ghost of another field only to see it grow cabbages.
Hula Hoop girl, oh Hula Hoop girl. Make another swirl. Serve sprouts on that vegan breakfast so that my stomach can hurl.

Getting back to the dicoball ritual that so many had partake. The moon lit frost had covered their hands. Like a relieved crackhead, they stuck them in the fire of their youthfulness.

Meanwhile clowns from across the boarder panic with horoscope readings of past events.

There I was on the sidewalk, pulling a flower when she told me the shortcomings of manhood. "You men are all the same", she said riding a paper centaure. 

Excuses the gesture of Santa Clause, he dose not know what he dose. Walking down the sidewalk in the early morning solstice fog. He gathers curses from the curb, stuffs them in his pocket and exclaims, "Here, I've pick a fine one. They will go well with my celebrity gauges".

Window washer on his bike from the other side of the pane of glass clears our focal plain with reason and harmony that only a visitor from space can understand.

He doesn't know me. Only I, he, or she is willingly to partake in this gestured dance of romanticized children, soon to be established elders of this patch and then wait for the grand finality when our seeds may be sown into this soil.     

Four score and seven years ago we ploughed a field ontop of the ghost of another field only to see it grow cabbages.

iono-11 Deep Tape Loops

track listing:

01: Sunday Evening.........................6:47 min

02: Static Dub.............................5:35 min

03: Seasons Last Heat......................7:34 min

04: If Monday Was On Sunday................9:34 min

05: Green Fades To Yellow..................7:59 min

06: Green Fades To Yellow2.................7:34 min

07: Green Fades To Yellow3.................7:17 min

08: Total Awareness........................7:19 min

download album

  "Deep Tape Loops" is the first full length album by resident artist Telegraphy. A project put together that consists of modified cassette tape loops, laptop, vintage vacuum tube receiver, and various analog effects. "Deep Tape Loops" delves into basic minimal-techno dub using vintage techniques.

  Trying to make new sounds in a analog way is mighty difficult. In the age of sophisticated audio manipulation software, where the novice can created wonderful sounds with ease, it is just no wounder why many artist have dropped their analog gear for virtual equipment. Telegraphy on the other hand, has taken minimal-techno back in time, where all that was available was analog.

  Synth loops were provided by cassette tape loops along with various analog effects. By using these loops, a more rich sound, where as traditional software based methods can not obtain such quality. These tape loops consists of modified cassette tape cartridges. Only using a few inches of tape is enough to create a two or three seconds of sound. Ambient backdrop noise is provided by a vintage vacuum tube receiver. This old radio with it's etheric tonalities not found in modern solid-state electronics, can be heard off in the distance releaving the listener from the rhythmic pulsation of drums and loops.

Empty spot on the web

words and interview by: Telegraphy

               "A new net magazine. Metal, ambient, noise, folk ... a bit of everything is covered."
                                                                                                  A Dead Spot of Light..

I read it online. In a age where physical printed material has become obsolete, there's a new wave of online magazines that are popping up on the internet. Everything from Steampunk to Shortwave Oddities, there seems to be genera of underground news letter / magazine for anything a human desires. Most of these obscure publications gravitate toward an audience whose in the scene themselves or for those who want to be. In other words, their everywhere on the internet, in the deepest darkest regions of a web server. Sometime they are right under your own nose.

  One such underground netzine "A Dead Spot of Light..." came to my attention when the publisher (who shall remain anonymous) contacted me to inform me that he had written a review of Telegraphy's "Somewhere In Detroit" [iono-5]. After reading this well produced review with it's artful grammar that seemed to flow with easy into the readers cranium, my natural high octane curiosity pull me in for more reading.

  While skimming through page after page, I found myself  more and more enthralled in each interview, review and in every soulful handcrafted word published. This workmanship is reflected upon the magazines vintage appearance thats both timeless and yet mysterious. Almost every page is decorated with some form of age old literary clip art or vintage black and white photographs. No high quality press photos. No over rated and over priced grafix. Just these etheric images from the distant past which conveys to the reader of an old news letter, but with subject matter of the present. An oxymoron  one might think of this magazines appearance, contradiction between subject matter and eye catching format. When you think of underground magazine, do you think of over corporatized, over commercialized (that's an oxymoron in itself) money making machine?  No, You think of it as being straight to the point, voicing artistic thoughts, unbiased and unconcerning for sponsors and the like.

  This is what A Dead Spot Of Light... is, true underground.

  I had a chance to interview the interviewer. This enigmatic publisher refused to give a name another then using the correspondences title "oneyoudontknow". For simplicity we'll call him "The one". The One and I sat down in our favorite seats with our favorite refreshments in close proximity where we began to exchange "Q's" and "A's" in binary format. Here's the unedited interview I had with the mysterious "The One".

 1 You're up to the twentieth edition of A Dead Spot Of Light. Has it evolved much since edition one, if so how has it?

    Every idea evolves. A small bit of advancement here, a small change there – a constant flux and improvement. Humans are generally driven by pushing themselves and progressing – in whatever direction –, while the Fordian capitalism, based on a repetitive and atomized way of manufacturing goods, is something that is actually alien to our own nature; it brings us down to our knees, prevents a clear identification with what we create and makes us blind for the final results of our actions. Orwell has a lot to say on the issue of combining creativity with the capitalist economy.

   My magazine is simply a result of what more people should do: express themselves, use their intellectual capabilities and form thoughts, exchange with other persons, confront themselves with art and manifestations that fall out of the category of the mainstream, the ordinary routine, so to speak. Especially in Germany radio and the television generally focus on a narrow set of “artistic” concepts. It is the independent scene, the underground and the like that create a counterpoint to this. Merzbow on German mainstream radio would be unthinkable. It is what Walter Lippman refers to as “intellectual anaemia”, but in some respect on a grand and terrifying scale.

  In the early days my magazine had been nothing but a clone of what others tend to do: create something that has a save target audience – to express it in the simplest and most disgusting kind of way. Some minor variation had been allowed, but the small seed has grown over the years and somehow elbowed out the other aspects. In fact, the latest edition, this would be number 20, has nearly fifty percent (!) non-metal stuff and when it comes to actual pages it is even more. It reflects my own disappointment and my reluctance to follow the modern metal. Shallowness and narcissistic tendencies have taken over, while all the predicaments of our days, topics that need to discussed and parodied, are ignored for too various and too complex reasons to discuss here.

  First there were only reviews but then interviews were allowed to make an appearance. Later something like (freestyle) poetry made a short visit. Now, experimentation is an imperative somehow and it is interesting to see what the Dada movement dealt with it in the 1920. Ubu (http://www.ubu.com/) is a wonderful source for obscure, forgotten and strange music, films and material. I am still wondering whether it would be possible to use some of it for my magazine. Also the Futurist movement is such a rich source for inspiration. Time will tell, I guess.

In short: from concreteness to vagueness.
              from harmony to noise
              from self-denial to realization

2  What was the inspiration behind this project? You've talked about how a fellow publisher lived in the same area as you created a similar online magazine, can you elaborate?

  Two paths need to be presented in this respect:
  I: The weirdestaspectbehind this magazine is how it all started. A German newspaper, Süddeutsche Zeitung, once described the Internet Archive – http://www.archive.org/– in an article as the graveyard of the Internet … and it would be best visited one of this type on the planet; paraphrased. I visited this site and had been intrigued by the general concept and idea behind it. You can upload somethingfor free, spread it for free, use other material from this site for free … a great idea and a great approach. All with a some restrictionsof course, but within this framework you can muddle throughquite well.

(the name of the magazine is also a play with this description)

   The advantage of the Internet Archive is that the information uploaded there is preserved, stored, taken care of. Blogs tend to vanish. Homepages need to be paid for, services close down at some point or another (like Geocities) and it all evaporates and becomes one with the incomprehensible vast oblivion of the Internet. Print, and this is true for a lot of reasons, is dead … but will remain in a niche. The market is flooded with magazines and even though there is no end in sight, you can feel their last breath, their last hurrah. Distributing the stuff is a burden and time consuming. Porto and package is ridiculous. Stuff can get lost … and the broader your musical approach, the more difficult it gets to spread free copies to the bands, left alone to finance this.

  I wanted to avoid these aspects. The idea had been to distribute it without these artificial and annoying obstacles, these relics of the past. Everybody should be ready to read it, access it without restrictions – that is why I had all (illegal) uploads on other sites removed – and for no costs. To put it in a pathetic statement: free information for free people. Aren't we grand, are we?

   II: I had written for two magazines prior to my own instalment. The first being the Etherized webzine (http://etherisedzine.blogspot.com/ <http://etherisedzine.blogspot.de/>), while the second had been the Circle of Destruction (http://circleofdestruction.net/). While the former seems to have ceased to be, the latter is continued by the person behind it, but on a small flame. From what I know, a new edition is about due to be released.

  Anyway, I had not been entirely satisfied with each of them. The former had been sent to the bands in the design of a plain text file – which is fine in limits –, while the latter follows the old-school diy Xeroxed concept with an additional homepage for material that would not fit into the printed edition. I wanted to head into a different direction and by mere chance, I stumbled over this one:

“The Wind Scrolls” only has seen one edition and also the homepage has ceased to be.

   When my memory does not deceive me, this magazine had been from the same town in which I lived at that moment: Bremen. A comparison with the current edition reveals some amount of similarities, yet at first I tried to create something that would look different. Over the months I moved towards it, made my magazine more printer-friendly and abandoned the experiments of various background colours and such – especially due to limitations in terms of creating a pdf file and recreating a design in it. Attempts had been made, but all failed for one reason or another.

  Unlike other magazines that are distributed as a pdf file in one way or another, the aspect of the copyright made me shy away from using band logos and/or cover artworks. Initially, I used them, but only after I realized on how to understand the Creative Commons properly in this regard – a facet of the restriction of the Internet Archive –, I switched towards the style that can be seen in all of my editions now – the earlier editions have had the logos/images removed and have been re-uploaded without these.

  3 The name "A Dead Spot of Light" almost conveys occultism in the sense that most of your subject matter is almost hidden away in the depths of the internet and you are bring those who are buried into the light of your publication. Is this a fair assumption?

  The explanation behind this name might come as a surprise and I have not shared this with anyone before: it is taken from a photography of mine.

  What I like to do is use 3200 ASA b/w films, push them to 6400 and take pictures with them at night. I had been walking through a park in Bremen and took a photography of a solitary lamp post, with an abandoned path in front of it. A grizzled, distant picture, a type not many will find appealing. Personally, digital photography has nothing to do with photography, due to the process the images are created. I am able to takes pictures with a really poor and really old camera – even with selfmade ones, but the same cannot be said of the modern electronic equivalent. You need to have reliance and trust in technology, believe in what the microprocessors store and analyse. As a user you do not have much control in this respect. For the private use it is nice, but professional photography should be analogue.

  When I was pondering about the name I had something in mind that was close to the name of a MySpace profile of mine: (a) “hypnotical somniloquy; it is still there but I did not log in for ages. At some point I was shuffling through the pictures and I stumbled over this very dark, grim and depressing black and white one. One creativity technique is to divert the attention and to let the thoughts drift away from the problem a bit in order to get a fresh and new view on the matter. In this case it had been fruitful … because somehow I found a name that I like and felt satisfied with. It was nothing planned, there had not been a list with names from which I picked one.

  You can add a lot of interpretation into it, but it has nothing to with how the cards actually fell. The bands that I interview, write about and deal with are small spots of light indeed, which use the dead cold space of the Internet as a medium for sharing their music. Nevertheless, through this it would loose an aspect that is important in some respect: my own “insanity”, my own tendency to wander around restlessly, ever searching, ever wondering, always amazed – be it for good or ill. It would be a denial of my own predicament.

 4  I was very impressed by the physical appearance of your publication. The use of the vintage literary clip art gives it more of an underground fell. Was this intentional or did it just evolve over time?

Physical appearance? Some temporarily stationary spots on a harddisk, vague lonely electrons, are a physical appearance?

  My thoughts on this subject follow what I had been written in the second question, which had been so rudely interrupted by the third one.

  Well, if band images were not possible, then what could fill the gap? It is rather obvious, is it not? With all these tons of images at the Internet Archive, of which a good amount do not have a copyright anymore, why not put them to some use? Why should someone complain if I take an image from a book that is one-hundred years old, hm? It would be most preposterous should this ever happen. Nevertheless, it is grotesque to what levels it has been and is still pushed when it comes to the dates in which a piece of art expires from its rights. It seems to be the work of lunatics.

  Evolution, ey? Well, the more you search the more you find. Once I had dug up a book in which there were only pictures of people that had been hung on a garrotte – from the times of war obvious. It had been a strange experience to shuffle through this book. Page after page you could see someone hanging from a tree or so, while soldiers appear next to them. Sadly, this kind of portrayal of the dead made a reappearance in the last years. Well, I did not save the link though … and it is lost again amongst the millions of books at the Internet Archive. Nevertheless, this is the type that someone might actually have to deal with at some point or another.

5  Where are you going next with A Dead Spot Of Light ?

  Prudens futuri temporis exitum Caliginosa nocte premit deus.
Dum in dubio est animus, paulo momento huc illuc impellitur



Notable reviews

Ionosonde recordings would like to thank A Dead Spot of Light... and disquiet.com for reviewing Telegraphy's "Someone In Detroit" iono-9 and "0dbm" [kpu116].

A Dead Spot of Light... is a online magazine which publishes interviews and reviews of independent recording artist. It is released for free on archive.org. You can read A Dead Spot of Light... review of Telegraphy's "Someone In Detroit" here on page 47

 Disquiet.com has been around as long as Kikapu has. Another on line magazine which focuses on ambient, soundscapes and field recordings. It's the place to go to find that sound your looking for. Having a review done by this webpage is like winning a record deal. With such a long track record of providing a platform for online music, if Telegraphy made it on this website, he most be doing something rite. You can read Disquiet's review of Telegraphy's "0dbm" here.