Willem De Ridder: vocals, tapes, mix.
Cora Emens: vocals, synthesizers, piano, flute.
Nick Nicole (presumably, Nicole Veldman): vocals, piano.
Hessel Veldman: synthesizers, tapes.
Jon Rose: cello, violin.
Henry W. Targowski: art work
Produced by Radio Art Foundation and Exart.
Experimental Radio Programme No.1, EA/R 051.
Exart Cassettes 1987.
For the sake of simplicity, I’m attributing this to the All Chemix Radio series (see previous posts), since it is indeed by the usual suspects, familiar from previous All Chemix sonic marvels. One of prolific Willem De Ridder many radio art experiments, ‘King’s-X Communications’ is a kind of study in paranoia. The strategy on ‘King’s-X’ is similar to that on the mammoth ‘Opera’ tape, that is: long intoxicating tracks, slowly accumulating sound material to reach climaxes of surreal/paranoid sonic maelstrom. This is actually the case on side A, while side B is a more peacefull affair, thanks to Cora Emens’ soothing flute playing. Hessel Veldman and Willem De Ridder instill their paranoia into us with their tapes: for instance, at beginning of side A, we hear a phone ringing that is so Cold War it is almost frightening. The tape abound in speech cut-ups, mourning vocals, meaningless syllables, throat singing, violin/cello improvisations, hypnotic electronic loops, synthesizers overtones, concrete sounds, etc. Note interesting piano+drums duo at end of side A, the former played by Cora or Nicole. Wether this was recorded live in one take is not said, though this was the methodology for many All Chemix Radio episodes. I think the reason so much of this group of people’s tapes works so perfectly is because they don’t give clues as to what we have been hearing. If there is a message, it’s up to you to devise one – the music is provided as is, with all its mysteries, and ultimately you’re left with more questions than answers, therefore you’re more clever at the end of the tape than at the beginning.