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1
London
05:00 - 06:00

Twoubadou, rooted in the Haitian Creole word for "troubadour," echoes the emotional narratives of its medieval namesake. Twoubadou traces its origins to the early 1900s, when seasonal migrant laborers working the cane fields in Cuba came to know and love Cuban guajiro music. The Cuban sound was soon melded with Haitian méringue and twoubadou was born. Twoubadous, akin to traveling bards, craft (often humorous) songs of love, life's complexities, and fleeting passions. "Twoubadou represents so much of what’s great about Haiti as an incubator for the arts, always bringing disparate cultures together to form wonderful new and uniquely West Indian expressions. Twoubadou is beautiful. Twoubadou is joy." Link Show made by Hugo Mendez.

2
Los Angeles
05:00 - 06:00

Idris Vicuña a.k.a Eyedress holds down a monthly hour on NTS' channel 2 bridging the gaps between lo-fi hip hop, garage pop, psychedelia and more…

Jan W. Morthenson

Jan W. Morthenson

Jan W. Morthenson has been played on NTS shows including samb_rules, with Ultra (1970) first played on 28 February 2019.

Jan W. Morthenson (born April 7, 1940 in Örnsköldsvik, Sweden) is a prominent Swedish composer, critic, and writer primarily known for his criticism of music in Sweden and his compositional styles of non-figurative music, music that aimed to avoid any relationship to past compositional techniques, and meta-music, which alluded to historical music genres in order to criticize them. Morthenson's success as a composer and intellect in Sweden is reflected by the influential positions he has held throughout his career. He was on the board for the Electronic Music Studio from 1973-1975, he acted as chairman of the Swedish section of the International Society for Contemporary Music (ICSM) from 1974-1975, he was vice-chairman of the ISCM council from 1975-1978, and he was also the chairman for Fylkingen, a Swedish chamber music society that focuses primarily on new music, from 1975-1976.

Morthenson began studying music in Stockholm in 1956 with Runar Mangs, a prominent Swedish music critic. Mangs left a lasting impression on young Morthenson, who would later refer to him in an obituary as one of the most important contemporary music critics in Sweden.[3] Four years after Morthenson began working with Mangs, he went on to study privately with Ingvar Lindholm in 1960,[3] and premiered his first public work, Wechselspeil I (1960) for solo cello.[4] The significance of Wechselspeil I was perpetuated by Morthenson's status as a young member of Fylkingen, which he joined in the same year.[5] Following his time with Lindholm, Morthenson attended Uppsala University to study aesthetics[4] and furthered his study as a composer through private lessons with Gottfried Michael Köenig at the electronic music studio in Cologne.[6] He also studied with Heinz-Klaus Metzger, who would write a long preface to Morthenson's only book Non-figurative Musik in 1966.

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Jan W. Morthenson

Jan W. Morthenson has been played on NTS shows including samb_rules, with Ultra (1970) first played on 28 February 2019.

Jan W. Morthenson (born April 7, 1940 in Örnsköldsvik, Sweden) is a prominent Swedish composer, critic, and writer primarily known for his criticism of music in Sweden and his compositional styles of non-figurative music, music that aimed to avoid any relationship to past compositional techniques, and meta-music, which alluded to historical music genres in order to criticize them. Morthenson's success as a composer and intellect in Sweden is reflected by the influential positions he has held throughout his career. He was on the board for the Electronic Music Studio from 1973-1975, he acted as chairman of the Swedish section of the International Society for Contemporary Music (ICSM) from 1974-1975, he was vice-chairman of the ISCM council from 1975-1978, and he was also the chairman for Fylkingen, a Swedish chamber music society that focuses primarily on new music, from 1975-1976.

Morthenson began studying music in Stockholm in 1956 with Runar Mangs, a prominent Swedish music critic. Mangs left a lasting impression on young Morthenson, who would later refer to him in an obituary as one of the most important contemporary music critics in Sweden.[3] Four years after Morthenson began working with Mangs, he went on to study privately with Ingvar Lindholm in 1960,[3] and premiered his first public work, Wechselspeil I (1960) for solo cello.[4] The significance of Wechselspeil I was perpetuated by Morthenson's status as a young member of Fylkingen, which he joined in the same year.[5] Following his time with Lindholm, Morthenson attended Uppsala University to study aesthetics[4] and furthered his study as a composer through private lessons with Gottfried Michael Köenig at the electronic music studio in Cologne.[6] He also studied with Heinz-Klaus Metzger, who would write a long preface to Morthenson's only book Non-figurative Musik in 1966.

Original source: Last.fm

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Ultra (1970)
Jan W. Morthenson
Caprice Records1973