For the perhaps the first time ever as a Netflix subscriber, this showed up on its release day. A bit long (3 DVDs!) but fun. "North American Scum" is still hilarious.
"Rosenfeld is equally known as a composer for large-scale performances and groundbreaking turntablist. Her sonic palette - entirely drawn from hand-crafted dub plates she imprints with blips of vinyl static, bursts of instrumental noise, conversation, and other audio detritus - evokes both the ecstatic electronic artifice of early electronic composers like Morton Subotnik and the post-punk ferocity of Kim Gordon.
On Plastic Materials, Rosenfeld creates a compelling and dense journey through ringing, magical electroacoustic structures that are carefully overlaid with piano, voice and deconstructed language. Her compositions evoke both the radical poetics of modernism and free improv and, with it's delicate underlay of hiss, vinyl static and other aural signifiers of recording, the unlikely preservation of the ephemeral made possible by vinyl.
Cuz I Cannot Find My Way, Hey, Girl, and I Treated Myself are excerpted from Teenage Lontano, Rosenfelds acclaimed "cover version" for teenaged choir, of György Ligetis 1967 orchestral masterpiece Lontano, premiered by the Whitney Museum in New York in 2008."
- Room40 - 2009.
"As the title says, these twelve pieces by Parmegiani are studies of the nature of sounds and their relations to each other. For example, the first piece confronts short and fast percussive events with longer sounds of various resonant bodies; the sixth piece mixes electronically treated sounds of woodwind instruments; the seventh piece explores the resonant capabilities of metallic objects. Although this work is more austere than later works like La cr
- Most intriguing and seriously weird . . . Tomas Phillips & Jason Bivins - Blau
- "Influenced by painter Barnett Newmans solid color canvases broken by vertical lines of various shades, Blau showcases two stimulating talents with a fair degree of success. One assumes that the method applied by the duo involves the use of Bivins unsophisticated instrumental matter as the source for Phillips treatment. In the opening minutes a guitar-generated crackle sticks out like a sore thumb, raspy and sour; apart from a vague comparison to some of Gary Smiths infinitesimal rubbings, I thought about a classic noise vs ambient kind of ho-hum, here-we-go-again release. On the contrary, after the engine is set in motion and the right level of flexibility is reached, the music shifts towards more concentrated settings. Marvellous droning materials are born from peculiar resonances interspersed with glitches, pops and other types of scratching interference and additional string filth, only not as pointless as in the beginning. The gorgeous Ohne Titel 3 which summons up memories of Robert Hampsons Main is an ever-welcome moment of profound fusion within sympathetic frequencies for a listener who has been there and done that a hundred thousand times. Even in places where the guitar is immediately recognizable at first, something that sounds almost sacred emerges in subsequent evolutions; elsewhere, as in Ohne Titel 5, its just you and a series of unfamiliarly shaped strata. The pair shows persistence, their substances scent slowly spreading to give the idea of a serious preparatory work behind the music as opposed to the typical frivolity of Lexicon-brandishing nobodies dispatching a nauseating somnolence for fine art."
- Touching Extremes - Dragons Eye Recordings.
Whoa! This record is awesome. It's like a collaboration of Mingus and Weill: a Europeanization of folksier, more ragged forms of Jazz. Only for tracks at Guvera.
@amc2 - what a year 1959 must have been for jazz fans, with Kind of Blue and Time Out both released in a few months of each other. Two very different albums, but both so amazingly good and influential.
I know most of you don't care, but it's making me very happy!
Not that I'd get it, but I am interested in what people listen to.
@Greg: we had a little "fest" of 1959 albums (Giant Steps, Kind of Blue, Mingus Ah-Um, The Shape of Jazz To Come, and Time Out) a few weeks back when you were offline. Truly a groundbreaking year.
@BT - what amazes me now is that it took me 40 years to discover Time Out and 50 years to get to the others! I'll have to check out Giant Steps, not sure if I have that. Thanks for bumping the emusic message. It is amazing how some such requests get answered immedialtely, and some seem to be totally ignored
Comments
Thanks, Guvera.
(Khmer is there too)
Listening to duo pieces played by Matousek and Adamec. Excellent.
Going deep into the Blue Note catalog, thanks to our pals at Guvera
Currently:
I'm using Guvera to explore Kim Kashkashian.
Some nice pieces on here.
Faded out cover art prejudices me against albums.
Meanwhile,
For the perhaps the first time ever as a Netflix subscriber, this showed up on its release day. A bit long (3 DVDs!) but fun. "North American Scum" is still hilarious.
Marina Rosenfeld - Plastic Materials
"Rosenfeld is equally known as a composer for large-scale performances and groundbreaking turntablist. Her sonic palette - entirely drawn from hand-crafted dub plates she imprints with blips of vinyl static, bursts of instrumental noise, conversation, and other audio detritus - evokes both the ecstatic electronic artifice of early electronic composers like Morton Subotnik and the post-punk ferocity of Kim Gordon.
On Plastic Materials, Rosenfeld creates a compelling and dense journey through ringing, magical electroacoustic structures that are carefully overlaid with piano, voice and deconstructed language. Her compositions evoke both the radical poetics of modernism and free improv and, with it's delicate underlay of hiss, vinyl static and other aural signifiers of recording, the unlikely preservation of the ephemeral made possible by vinyl.
Cuz I Cannot Find My Way, Hey, Girl, and I Treated Myself are excerpted from Teenage Lontano, Rosenfelds acclaimed "cover version" for teenaged choir, of György Ligetis 1967 orchestral masterpiece Lontano, premiered by the Whitney Museum in New York in 2008."
- Room40 - 2009.
Enjoying this while grading papers. Thanks, Guvera!
"As the title says, these twelve pieces by Parmegiani are studies of the nature of sounds and their relations to each other. For example, the first piece confronts short and fast percussive events with longer sounds of various resonant bodies; the sixth piece mixes electronically treated sounds of woodwind instruments; the seventh piece explores the resonant capabilities of metallic objects. Although this work is more austere than later works like La cr
Tomas Phillips & Jason Bivins - Blau
- "Influenced by painter Barnett Newmans solid color canvases broken by vertical lines of various shades, Blau showcases two stimulating talents with a fair degree of success. One assumes that the method applied by the duo involves the use of Bivins unsophisticated instrumental matter as the source for Phillips treatment. In the opening minutes a guitar-generated crackle sticks out like a sore thumb, raspy and sour; apart from a vague comparison to some of Gary Smiths infinitesimal rubbings, I thought about a classic noise vs ambient kind of ho-hum, here-we-go-again release. On the contrary, after the engine is set in motion and the right level of flexibility is reached, the music shifts towards more concentrated settings. Marvellous droning materials are born from peculiar resonances interspersed with glitches, pops and other types of scratching interference and additional string filth, only not as pointless as in the beginning. The gorgeous Ohne Titel 3 which summons up memories of Robert Hampsons Main is an ever-welcome moment of profound fusion within sympathetic frequencies for a listener who has been there and done that a hundred thousand times. Even in places where the guitar is immediately recognizable at first, something that sounds almost sacred emerges in subsequent evolutions; elsewhere, as in Ohne Titel 5, its just you and a series of unfamiliarly shaped strata. The pair shows persistence, their substances scent slowly spreading to give the idea of a serious preparatory work behind the music as opposed to the typical frivolity of Lexicon-brandishing nobodies dispatching a nauseating somnolence for fine art."
- Touching Extremes - Dragons Eye Recordings.
Whoa! This record is awesome. It's like a collaboration of Mingus and Weill: a Europeanization of folksier, more ragged forms of Jazz. Only for tracks at Guvera.
Hadn't listened to this in a long time, but some comments here a couple weeks ago made me want to re-visit. So glad I did!
I've gotten several hip hop classics from Guvera this week. I know most of you don't care, but it's making me very happy!
Craig
I played these earlier today to and from work
Now playing, following amc2
@Greg: we had a little "fest" of 1959 albums (Giant Steps, Kind of Blue, Mingus Ah-Um, The Shape of Jazz To Come, and Time Out) a few weeks back when you were offline. Truly a groundbreaking year.