@Doofy - thanks for that link. The wonders of YouTube. Love that song.
Also, this trip down Hightone memory lane has reminded me of another bizarre song favorite, did not find on eMu, but it's on Amazon from the Rev. Billy C. Wirtz, called Teenie Weenie Meanie from the Deep Fried And Sanctified album. I'd explain further but it would have a Spoiler effect.
Freshly discovered: Pulga is a collaboration between Valerio Cosi of Taranto,
Italy and Vanessa Niwi Rossetto of Austin, Texas.
- "Valerio Cosi seems an unstoppable force in the experimental underground these days, lending his ultrapsychedelic free jazz stylings to Uton, The North Sea and other projects as well as compiling a very impressive list of recordings under his own name. The equally creative Vanessa Niwi Rossetto is best known for her project The Mighty Acts of God. She has also performed with Brothers of the Occult Sisterhood at Terrastock 6 and has collaborative projects with Michael Donnelly (Brothers of the Occult Sisterhood), Salvatore Borrelli (Etre) and others.
As impressive as their accomplishments are, Pulga Loves You marks a creative peak that will be hard to top in the experimental music realm. Self described as an otherworldly freakedelia unit influenced by freedom, ethnomusicology, chaos, drugs, horns and strings; these reference points can only begin to give you an idea of the majestic listening experience that awaits one here."
- Fire Museum Records 2007
You're right! I couldn't wait and got a booster. Terrific, but I've played it through twice now and Track 1 side B came up in the rotation while out in the garden today, (between Jaap Blonk and BRAAXTAAL & Stealing Orchestra) and none of the Reines D'Angleterre tracks have been able to scrobble their way over to lastfm. I couldn't figure out how to make that page appear (that pops up occasionally and asks if I want to scrobble some tracks it appeared I had played), to command it to head over there it. This is the first time i've noticed that certain tracks just won't scrobble.
On the plus side, newly dropped The Sound Of Siam, Vol.2. Annoying part was to find their current version of Vol. 1 is a different incarnation of the one I previously downloaded - just part of the "charm" of the eMu experience, the minefield of iterations. Dug the first one a lot, so I'm expecting good things from the second.
I don't know a lot about the Cambridge Folk Festival, but a release dropped this week, 50 songs, 216 minutes - Celebrating 50 Years - no provenance year-wise but it's an interesting line-up of those I do know and might be glad to have discovered.
BDB - Cambridge Folk Festival is probably the major folk and acoustic festival in Britain, attracting artists from all over the World. I went a couple of times in the mid 1980s. Given that I only lived 45 minutes away back then with hindsight I ought to have gone more. I will see if I can find this album on Amazon - it is 50 credits on emusic, £21!
"One fascinating aspect of the Legendary Pink Dots is that I never know where and when their simmering brilliance will fully manifest itself. Case in point: this limited-edition solo effort by keyboardist Phil Knight was casually released on CDR on the same day as two other LPD-related albums with only the most cryptic and inscrutable of descriptions ("...aliens here to study mankind had taken control of the airwaves; spread confusion with fake weather reports..."), yet it contains a fluke quasi-noise/industrial collage that ranks among my favorite pieces in the Dots' entire discography."
- "Finisterre consists of a trio of lengthy and very dissimilar soundscapes. The first, "Fitzroy Cromarty," is the most subtle and drone-like of the three, as it is built upon slow-moving and ominous synth swells beneath a robotic-sounding, ring-modulated voice that seems to be reciting a shipping forecast. Not much overt evolution occurs over the course of its 19-minute duration, aside from the addition of a faint pulse and a gradual increase in both density and general hauntedness. That is more than enough to make the piece work though, as its eerie, otherworldly mood is quite wonderful. To my ears, its masterfully understated dread evokes images of a malfunctioning radio aboard an abandoned boat adrift on a particularly lonely and forgotten stretch of ocean, which is a niche that is all too rarely filled as far as I am concerned.
Unfortunately, the following "Oscar's Last Day" completely ruins the spell for me, as it sounds like an annoying, artificial-sounding bagpipe motif unfolding over a watery, dated-sounding synthesizer bed. It initially reminded me unfavorably of something that would be playing during a science documentary from the '70s, but then it grew exponentially worse when the mutant Celtic elements start fading in. While I have thankfully never had a nightmare about a St. Patrick's Day-themed Doctor Who episode, I am dead certain that such a thing would sound an awful lot like this. I have absolutely no idea what Knight was trying to accomplish or whether or not he succeeded, but I no doubt that "Oscar's Last Day" is a horrible, horrible piece of music regardless.
Consequently, I could not have been more surprised by the closing "Spring," which is an obsessive, paranoid masterpiece that calls to mind classic Genocide Organ or Maurizio Bianchi. It starts off with woozy, disorienting swells that mimic the Doppler effect of cars whizzing by someone lying in the road with the life ebbing out of them, as there is an awesomely weird, hallucinatory detachment to the traffic sounds along with some distant, indecipherable shouting. Somehow, however, the piece gets even better from there, as it gradually snowballs in intensity with menacing hums and an echo-heavy, inscrutable, and layered spoken-word loop that sounds like an ominous news transmission or excerpt from a revolutionary speech. Then it all slowly fades away without ever making a false move or overstaying its welcome. It could not possibly be improved.
Such a strong finish makes for a baffling album, as "Spring" is so perfectly sculpted that I fleetingly entertained the possibility that I might be wrong about the execrable "Oscar's Last Day." After revisiting it, however, my original assessment was brutally reaffirmed: Finisterre consists of an unlistenably bad center book-ended by two truly wonderful and inspired pieces. As perplexing and aggravating as that is, it still leaves almost 40 minutes of sustained greatness and one piece that I would deem absolutely essential, making the largely under-the-radar Finisterre one of the year's most pleasantly surprising releases to date (albeit one that arguably includes one of the year's worst surprises as well)."
Discovered: Ramon Sender - Worldflood - "Worldfood is a wild, psychedelic warble & drone of looped, overlayed tape pieces produced by 'goosing' an ampex tape player with a computer calibration device. The resulting two pieces -- 'Worldfood vii (To See With my Eyes)' and 'WorldfoodXii' -- both part of a number of variations in a series -- make for gorgeous, careening sungazing music. Leave your glasses behind. Ramon Sender is a legendary figure in the Bay Area scene -- first paving the way for the San Francisco Tape Center with Mort Subotnick ( Silver Apples of the Moon ) and Pauline Oliveiros at the dawn of the 1960s where the stunningly out pieces on this disc happened. In subsequent years, he played an active role with the San Francisco Diggers -- the anarchist guerilla street theater group that challenged the emerging Counterculture --and co-founded the legendary Morningstar Ranch Commune in Sonoma County. Worldfood is the first in an ongoing series of archival discs to come from Ramon Sender 's exceptional vaults."
- Other Minds
- "Electronic and experimental composer Ramon Sender co-founded the San Francisco Tape Music Center with Morton Subotnick in 1961. He studied under George Copeland, Elliott Carter, and Robert Erickson in California colleges including Mills College (M.A., 1965). In the S.F. Tape Music Center's early days, Sender, Subotnick, Pauline Oliveros, Tony Martin, and Terry Riley were the core composers. In the late '60s, Sender also became a part of Lou Gottlieb's Morning Star/Wheeler (Ahimsa) Ranch communes, and in the '90s, became involved in the Peregrine Foundation, which helps people "living in or exiting from experimental social groups." His works include "Desert Ambulance" (1964) for accordion, tape, slides, and film, and "Audition for Three Small Harps in Mode 28" (1981). Sender is a performer in some of his compositions, playing, among other instruments, the dilruba harp."
- All Music
eMu EndCap Sale just added some "back to school essentials." Several classic albums everyone usually has (Miles Davis, Sketches of Spain, King of Blue, Dylan's Blood on the Tracks, Cash's Folsom Prison) and a few newer bands (Tennis, etc). Worth checking out for less that $5 an album.
Freshly discovered and fairly freshly dropped (in may on Intakt Records:
Lindsay Cooper: Bassoon, Saxophone, Composer
Phil Minton: Voice
Elvira Plenar: Piano
Robyn Schulkowsky: Percussion
Dean Brodrick: Accordeon, Keyboards
Paul Jayasinha: Trumpet, Cello
- "Written during the Gulf War One, the piece Sahara Dust looks at a contracting and increasingly chaotic world, where people can wake up to find Sahara dust (rain bearing particles of sand from the Sahara desert) on their doorstep and see distant conflicts on their televisions. «This is not a time to undervalue the despair and infinite hope of small private, day to day things; we can trace the vein of a leaf or fly over vast landscapes, but what we carry with us depends on our entire personal history,» writes Lindsay Cooper.
The British composer Lindsay Cooper concentrated particularly on collaborations involving text, film, dance or theatre as in the piece The Gold Diggers (with Sally Potter) or The Song of the Shirt. The text for Sahara Dust was written by the Australian singer/writer/director Robyn Archer, with whom Lindsay Cooper has in the past collaborated on songs, concerts, radio cabaret programms and theater productions." Intakt Records - Allmusic review
Freshly discovered because of my latest post on the Classical N&N thread: PERFORMERS:
Paolo Kapunan (turntables/tourne-disque)
Members of/membres de Winnipeg Symphony Orchestra
Rei Hotoda (conductor/chef d'orchestre)
Canadian Chamber Ensemble
Daniel Warren (conductor/chef d'orchestre)
Steve Raegele (guitar/guitare)
Alexandre Grogg (rhodes)
Shawn Mativetsky (vibraphone)
Miles Perkin (double bass/contrebasse)
Ben Reimer (drum kit/batterie)
Erik Hove (alto saxophone/saxophone alot)
Steve Raegele (guitar/guitare)
Alexandre Grogg (rhodes)
Miles Perkin (double bass/contrebasse)
Ben Reimer (drum kit/batterie)
Erik Hove (alto saxophone/saxophone alto)
- "This is the exciting debut recording from the young Quebec composer Nicole Liz
From the founder of Recommended Records (later RER Megacorp), Chris Cutler and one of his many amazing projects.
- And certainly a "must check out" for Cutler fans.
3 albums that seems to be the remainder of the Cassiber Catalogue
Cassiber was:
Christoph Anders vocals, synthesizer, organ, electric guitar, tenor saxophone, samples, violin
Chris Cutler acoustic and electric drums, noise, vocals
Heiner Goebbels piano, synthesizer, organ, violin, electric and acoustic guitar, bass guitar, samples, vocals
Alfred Harth alto, tenor and baritone saxophone, trumpet, trombone, clarinet, bass clarinet, cello, jaw harp, vocals
"Cassiber were a German avant-rock group founded in 1982 by German composer and saxophonist Alfred Harth, German composer, music-theatre director and keyboardist Heiner Goebbels, English drummer Chris Cutler from Henry Cow and German guitarist Christoph Anders. They recorded five albums, toured extensively across Europe, Asia and North America, and disbanded in 1992.
Cassiber's music was a blend of speed-punk, free jazz and sampling which incorporated found sounds and news broadcasts. They were best known for the "frantic intensity" of their live performances. A Time Out critic wrote, "Cassiber play as if they only have a minute left to live." They were also noted for their style of playing, which was to "improvise 'completed pieces'"
Chris Cutler first met Heiner Goebbels, Alfred Harth and Christoph Anders in 1977 through the So-Called Left-Radical Brass Band. In 1979 Anders and Harth had a punk band in Frankfurt am Main. Leading from this experience, in 1980 Harth produced the LP Es herrscht Uhu im Land on JAPO Records/ECM that included Anders and Goebbels and others with the idea of integrating punk rock, free jazz and classical music. This work triggered the wish within the Duo Goebbels/Harth to form a smaller group with a similar concept. Harth asked Anders and Cutler to join the Duo Goebbels/Harth and gave that new group the name "Kassiber", which was later changed by Anders to "Cassiber". In 1982, Cutler, Goebbels, Harth and Anders met at Etienne Conod's Sunrise Studio in Switzerland to record an album. Their approach was to "improvise 'completed pieces'", that is "to attempt spontaneously to produce already structured and arranged material". The result was a double LP Man or Monkey, which was well received in Germany and led to an invitation to perform at the 1982 Frankfurt Jazz Festival.
For the next ten years Cassiber toured Asia and North America and appeared at almost every major festival in Europe. Their live performances generally consisted of new pieces invented in real time, plus pieces from their albums played spontaneously without having learnt or rehearsed them. In May 1983 Cassiber (minus Anders) joined Duck and Cover, a group that Burkhard Hennen had asked Harth to put together for the Moers Festival as well as a later commission from the Berlin Jazz Festival, for a performance in West Berlin in October 1983, followed by another in February 1984 in East Berlin. In July 1983 Cassiber (again minus Anders) joined half of Italian progressive rock and Rock in Opposition band, Stormy Six to form Cassix (Cassiber/Stormy Six) for a public workshop and recording project in Italy.[4] Harth left Cassiber in 1985 to found the avant-rock groups Gestalt et Jive and Vladimir Estragon; Cassiber continued as a trio. In October 1986 Cassiber performed at the 4th Festival International de Musique Actuelle de Victoriaville in Victoriaville, Quebec, Canada. In their last year they invited guests to perform with them, including Hannes Bauer and Dietmar Diesner.
As a quartet, Cassiber recorded two albums, Man or Monkey (1982) and Beauty and the Beast (1984). After Harth left they recorded two more albums, Perfect Worlds (1986) and A Face We All Know (1990), the latter dealing with issues surrounding the collapse of the Berlin Wall and incorporating texts from Thomas Pynchon's 1973 novel Gravity's Rainbow. A 1992 concert recorded in Tokyo with guest saxophonist Masami Shinoda was released in 1998 on one disc of a double CD, Live in Tokyo. The other disc comprised 1998 re-workings of the concert material by turntablist Otomo Yoshihide, who had been in the audience for the original concerts. The album recorded Shinoda's last performance (he died soon after Cassiber left Japan) and Cassiber's penultimate performance as a group. The material by Yoshihide was Ground Zero's valedictory project.
Cassiber's last concert was on 13 December 1992 at the Calouste Gulbenkian Foundation in Lisbon."
Yes! Highly recommend the Acousmatrix series.
I've had these (with different covers) for about 25 years now
and even tho the pieces have seen all kinds of re-releases since,
this BV Haast set is a classic. Actually Breuker's label has been a
great place for contemporary music since the 70's.
---
Now playing: Anthony Braxton - Composition No. 26J (Solo (Austin) 1978)
Freshly discovered on Plunderphonic master John Oswald's FONY label. - ""On GRAYFOLDED (fony) plunderphonics composer John Oswald's 1995 double disc length 'cover' of The Grateful Dead's most spacebound vehicle plundered and spliced together more than four decades of live Dead versions into one definitive, maximalist version. Oswald created orchestras of timewarped Jerry Garcias loosing waterfalls of of lunar notes and feedback patterns that bled into slow smears of vocals and supernaturally compacted jams. The first - straighter - part, "Transitive Axis", relies mostly on overlap techniques, which permit Oswald to fly in various soundboard recordings and patch particularly zoned solos into huge vertically stacked harmonies. [...] Part two, "Mirror Ashes", is considerably more dosed, with swarms of time-altered sound effectively working as huge brackets enveloping ever more compacted takes. It's a fantastically psychedelic listen ..."
- The Wire.
"Canadian author, playwrigth and guitarist Lawrence Russell, born 1941 in Ireland, relocated to Canada in 1958 and has been teaching Creative Writing at the University of Victoria, B.C. since the mid-1960s. The founder of the Theatre of the Invisible around 1969, Russell wrote numerous radio dramas for the Canadian Broadcasting Corporation during the 1970s and 80s, some of them distributed as audio tapes to universities and FM stations in Canada and the US.
In 1972, Russell launched D.N.A., a tape magazine on quarter-inch audio tape including short stories, radio plays and poems, where he encouraged other writers to use sound effects and the facility of the University of British Columbia studios in Vancouver to expand the scope of their work with electronic means. In addition to Russell’s own short stories Camouflage, Geometry & Dream, Blackout or Ride On, contributing authors to D.N.A. included Andreas Peter Schroeder (The Meeting) and Paul A. Green (Directions to the Dead End and The Gestaltbunker, both 1971 ; Sunpower, 1975)."
Not sure how recently this popped up at emusic, I just know that for several years I searched for it occasionally (being unwilling to pay the bandcamp price) and it was not there, but now it is:
- "James Tenney (1934-2006) was probably the first composer to develop an aesthetic for computer music, realizing that electronic music almost forced the composer to accept noise as “music” and to abandon the idea of absolute control over a composition. He came to accept Cage's passion for randomness, but from a different angle: computer music can be “unpredictable” (rather than “random”).
This CD looks at how Tenney persistently asked two questions: “What if?” and “How does it work?” Entitled Melody, Ergodicity and Indeterminacy, it brings an understanding of Tenney’s exploration of the act of listening and the factors of composition, of how materials can be assembled, how a composer creates musical continuity.
It contains four solos for flute and clarinet which are taken both from some of his earliest works, Poem (1955) and Monody (1959) and from relatively late in his career, Seegersong #1 & 2 (1999).
The CD features Tenney’s Ergodos compositions (forerunners of minimal music or drones) - instead of a fixed object, the listener hears a process and assembles his own experience from the sounds which have enveloped him.
The reel-to-reel source tapes for Ergodos I and II are unique in that they may be played in either direction, beginning and ending at any point and/or with any number of super-impositions of parts (channels). On this CD, both Ergodos tape pieces are presented along with the tape and its STRING COMPLEMENT, INSTRUMENTAL RESPONSES (10 performers) and also with a percussion soloist (PERCUSSION RESPONSE).
Like so many of Tenney’s pieces, these works walk a line between the composers input and the choices of the performers in order to come to fruition. Tenney’s conscious inclusion of the performer's input is a consistent characteristic of his music and remains a factor which distinguishes him from many other composers."
"Mort aux Vaches is the name of a series of albums released by the Staalplaat record label in collaboration with the Dutch radio station, VPRO. The name translates literally from French as “Death to Cows,” with “cows” being French slang for German cops - it is equivalent to “Death to Pigs” in English."
I can't be certain this is freshly dropped, I can only say I searched for it at emusic in the past and failed to find it - with the vagaries of the search engine who knows. Anyway, it's there now:
This has some very gushing reviews of the 'if you only own one Dufay recording...' variety, so seems worth checking out.
http://www.emusic.com/browse/album/all/label:1362508/?sort=downloads Quite an interesting label addition at eMu if you are a guitar fan - Shrapnel Records, which has not been widely available digitally but CD only. Lots of guitar shredders and wankers, in the good sense. A lot of these are older releases from when CDs had fewer tracks, or even cassettes, so some are priced lower too. Artists like Paul Gilbert, Vinnie Moore, Richie Kotzen, Jason Brecker, some more obscure or hard to find older stuff like Racer's X, some by Michael Schenker. They just filled my dance card for months.
Let me second BigD-Bluez' recommendation - I've bookmarked a few releases - like Eric Gales and Jon Butcher (who I saw quite often in the old days form the Boston scene - always wondered what happened to him). It appears that they have gotten rights from a label called Blues Bureau International, where some (if not all) of the releases originated.
Comments
Meanwhile:
Also, this trip down Hightone memory lane has reminded me of another bizarre song favorite, did not find on eMu, but it's on Amazon from the Rev. Billy C. Wirtz, called Teenie Weenie Meanie from the Deep Fried And Sanctified album. I'd explain further but it would have a Spoiler effect.
Pulga is a collaboration between Valerio Cosi of Taranto,
Italy and Vanessa Niwi Rossetto of Austin, Texas.
- "Valerio Cosi seems an unstoppable force in the experimental underground these days, lending his ultrapsychedelic free jazz stylings to Uton, The North Sea and other projects as well as compiling a very impressive list of recordings under his own name. The equally creative Vanessa Niwi Rossetto is best known for her project The Mighty Acts of God. She has also performed with Brothers of the Occult Sisterhood at Terrastock 6 and has collaborative projects with Michael Donnelly (Brothers of the Occult Sisterhood), Salvatore Borrelli (Etre) and others.
As impressive as their accomplishments are, Pulga Loves You marks a creative peak that will be hard to top in the experimental music realm. Self described as an otherworldly freakedelia unit influenced by freedom, ethnomusicology, chaos, drugs, horns and strings; these reference points can only begin to give you an idea of the majestic listening experience that awaits one here."
- Fire Museum Records 2007
Darn computers....
Plenty of Mute backcatalogue dropped in yesterday
- Labradford, Diamanda Galas, DAF, Fad Gadget, Neubauten, Ad N to X and many more.
Update - £7.49 on Amazon, much better value!
After reading Jon Whitney''s excellent review of The Legendary Pink Dots' Code Noir album, I just had to grab this one:
Jon Whitney @ Brainwashed again: - Just my words . . . :-)
ETA: - And the music link.
Ramon Sender - Worldflood
- "Worldfood is a wild, psychedelic warble & drone of looped, overlayed tape pieces produced by 'goosing' an ampex tape player with a computer calibration device. The resulting two pieces -- 'Worldfood vii (To See With my Eyes)' and 'WorldfoodXii' -- both part of a number of variations in a series -- make for gorgeous, careening sungazing music. Leave your glasses behind. Ramon Sender is a legendary figure in the Bay Area scene -- first paving the way for the San Francisco Tape Center with Mort Subotnick ( Silver Apples of the Moon ) and Pauline Oliveiros at the dawn of the 1960s where the stunningly out pieces on this disc happened. In subsequent years, he played an active role with the San Francisco Diggers -- the anarchist guerilla street theater group that challenged the emerging Counterculture --and co-founded the legendary Morningstar Ranch Commune in Sonoma County. Worldfood is the first in an ongoing series of archival discs to come from Ramon Sender 's exceptional vaults."
- Other Minds
- "Electronic and experimental composer Ramon Sender co-founded the San Francisco Tape Music Center with Morton Subotnick in 1961. He studied under George Copeland, Elliott Carter, and Robert Erickson in California colleges including Mills College (M.A., 1965). In the S.F. Tape Music Center's early days, Sender, Subotnick, Pauline Oliveros, Tony Martin, and Terry Riley were the core composers. In the late '60s, Sender also became a part of Lou Gottlieb's Morning Star/Wheeler (Ahimsa) Ranch communes, and in the '90s, became involved in the Peregrine Foundation, which helps people "living in or exiting from experimental social groups." His works include "Desert Ambulance" (1964) for accordion, tape, slides, and film, and "Audition for Three Small Harps in Mode 28" (1981). Sender is a performer in some of his compositions, playing, among other instruments, the dilruba harp."
- All Music
Lindsay Cooper: Bassoon, Saxophone, Composer
Phil Minton: Voice
Elvira Plenar: Piano
Robyn Schulkowsky: Percussion
Dean Brodrick: Accordeon, Keyboards
Paul Jayasinha: Trumpet, Cello
- "Written during the Gulf War One, the piece Sahara Dust looks at a contracting and increasingly chaotic world, where people can wake up to find Sahara dust (rain bearing particles of sand from the Sahara desert) on their doorstep and see distant conflicts on their televisions. «This is not a time to undervalue the despair and infinite hope of small private, day to day things; we can trace the vein of a leaf or fly over vast landscapes, but what we carry with us depends on our entire personal history,» writes Lindsay Cooper.
The British composer Lindsay Cooper concentrated particularly on collaborations involving text, film, dance or theatre as in the piece The Gold Diggers (with Sally Potter) or The Song of the Shirt. The text for Sahara Dust was written by the Australian singer/writer/director Robyn Archer, with whom Lindsay Cooper has in the past collaborated on songs, concerts, radio cabaret programms and theater productions."
Intakt Records - Allmusic review
PERFORMERS:
Paolo Kapunan (turntables/tourne-disque)
Members of/membres de Winnipeg Symphony Orchestra
Rei Hotoda (conductor/chef d'orchestre)
Canadian Chamber Ensemble
Daniel Warren (conductor/chef d'orchestre)
Steve Raegele (guitar/guitare)
Alexandre Grogg (rhodes)
Shawn Mativetsky (vibraphone)
Miles Perkin (double bass/contrebasse)
Ben Reimer (drum kit/batterie)
Erik Hove (alto saxophone/saxophone alot)
Steve Raegele (guitar/guitare)
Alexandre Grogg (rhodes)
Miles Perkin (double bass/contrebasse)
Ben Reimer (drum kit/batterie)
Erik Hove (alto saxophone/saxophone alto)
- "This is the exciting debut recording from the young Quebec composer Nicole Liz
From the founder of Recommended Records (later RER Megacorp), Chris Cutler and one of his many amazing projects.
- And certainly a "must check out" for Cutler fans.
3 albums that seems to be the remainder of the Cassiber Catalogue
Cassiber was:
Christoph Anders vocals, synthesizer, organ, electric guitar, tenor saxophone, samples, violin
Chris Cutler acoustic and electric drums, noise, vocals
Heiner Goebbels piano, synthesizer, organ, violin, electric and acoustic guitar, bass guitar, samples, vocals
Alfred Harth alto, tenor and baritone saxophone, trumpet, trombone, clarinet, bass clarinet, cello, jaw harp, vocals
Urban Sax' first two albums from 1977 and 1978:
http://www.discogs.com/Various-Acousmatrix-The-History-Of-Electronic-Music/release/1891514
- Released on a fairly new label on music:
BV Haast Records
In: Jan 22, 2014
Albums: 31
- Also the home of Willem Breuker Kollektief</div>
I've had these (with different covers) for about 25 years now
and even tho the pieces have seen all kinds of re-releases since,
this BV Haast set is a classic. Actually Breuker's label has been a
great place for contemporary music since the 70's.
---
Now playing: Anthony Braxton - Composition No. 26J (Solo (Austin) 1978)
- ""On GRAYFOLDED (fony) plunderphonics composer John Oswald's 1995 double disc length 'cover' of The Grateful Dead's most spacebound vehicle plundered and spliced together more than four decades of live Dead versions into one definitive, maximalist version. Oswald created orchestras of timewarped Jerry Garcias loosing waterfalls of of lunar notes and feedback patterns that bled into slow smears of vocals and supernaturally compacted jams. The first - straighter - part, "Transitive Axis", relies mostly on overlap techniques, which permit Oswald to fly in various soundboard recordings and patch particularly zoned solos into huge vertically stacked harmonies. [...] Part two, "Mirror Ashes", is considerably more dosed, with swarms of time-altered sound effectively working as huge brackets enveloping ever more compacted takes. It's a fantastically psychedelic listen ..."
- The Wire.
"Canadian author, playwrigth and guitarist Lawrence Russell, born 1941 in Ireland, relocated to Canada in 1958 and has been teaching Creative Writing at the University of Victoria, B.C. since the mid-1960s. The founder of the Theatre of the Invisible around 1969, Russell wrote numerous radio dramas for the Canadian Broadcasting Corporation during the 1970s and 80s, some of them distributed as audio tapes to universities and FM stations in Canada and the US.
In 1972, Russell launched D.N.A., a tape magazine on quarter-inch audio tape including short stories, radio plays and poems, where he encouraged other writers to use sound effects and the facility of the University of British Columbia studios in Vancouver to expand the scope of their work with electronic means. In addition to Russell’s own short stories Camouflage, Geometry & Dream, Blackout or Ride On, contributing authors to D.N.A. included Andreas Peter Schroeder (The Meeting) and Paul A. Green (Directions to the Dead End and The Gestaltbunker, both 1971 ; Sunpower, 1975)."
With thanks to Continuo's Documents.
This CD looks at how Tenney persistently asked two questions: “What if?” and “How does it work?” Entitled Melody, Ergodicity and Indeterminacy, it brings an understanding of Tenney’s exploration of the act of listening and the factors of composition, of how materials can be assembled, how a composer creates musical continuity.
It contains four solos for flute and clarinet which are taken both from some of his earliest works, Poem (1955) and Monody (1959) and from relatively late in his career, Seegersong #1 & 2 (1999).
The CD features Tenney’s Ergodos compositions (forerunners of minimal music or drones) - instead of a fixed object, the listener hears a process and assembles his own experience from the sounds which have enveloped him.
The reel-to-reel source tapes for Ergodos I and II are unique in that they may be played in either direction, beginning and ending at any point and/or with any number of super-impositions of parts (channels). On this CD, both Ergodos tape pieces are presented along with the tape and its STRING COMPLEMENT, INSTRUMENTAL RESPONSES (10 performers) and also with a percussion soloist (PERCUSSION RESPONSE).
Like so many of Tenney’s pieces, these works walk a line between the composers input and the choices of the performers in order to come to fruition. Tenney’s conscious inclusion of the performer's input is a consistent characteristic of his music and remains a factor which distinguishes him from many other composers."
Mort Aux Vaches
Jay !
The amazing
- Has returned - A must for fans of electroacustic / musique concréte kind of stuff . . .
Quite an interesting label addition at eMu if you are a guitar fan - Shrapnel Records, which has not been widely available digitally but CD only. Lots of guitar shredders and wankers, in the good sense. A lot of these are older releases from when CDs had fewer tracks, or even cassettes, so some are priced lower too.
Artists like Paul Gilbert, Vinnie Moore, Richie Kotzen, Jason Brecker, some more obscure or hard to find older stuff like Racer's X, some by Michael Schenker. They just filled my dance card for months.