Test test test etc. for the new secure site and because it's the truth and the music makes a lot of sense with an award winning London Dry Gin on a Friday night. Thanks Rostasi!
Sound
Mechanic Neil Feather has been creating radical and unusual musical
instruments since 1970 and is increasingly known as one of the most
original musical thinkers of his day. His instruments each embody
uniquely clever acoustic and engineering principles, and are visually
arresting. The music he plays on the instruments is equally original,
embodying new principles and resulting in a nearly alien idiom of music.
In this programme he meets musician, composer and Hörspiel producer
Felix Kubin.
You're welcome! The movie and the soundtrack were both big parts of my life back then. The film is cringeworthy nowadays, but in '71, as a youngster, it seemed incredible. The first copy of the album I had was the hexagon-shaped vinyl that came with "the key" - a very important part of the film if you haven't seen it. I even started writing a sci-fi novel that was an "extension" called "The Antillia Stratagem" during those years. A schoolmate "borrowed" my copy of the album - apparently permanently, so I had to buy another.
Thanks @rostasi The Andromeda Strain album seems to be rereleased in 2016
I didn't know about Neil Feather until Felix Kubin posted the portrait yesterday.
I found this on eMu:
Recorded 012 Neil Feather and friends at High Zero 2002 Roto-Melon
Instrument inventor Neil Feather is one of the most fascinating, and
currently under-documented cultural figures on the East Coast. This
record includes two highly interesting sets of improvised music which
only scratch the surface of his activities: an explosive and tranced-out
set with inventor Carly Ptak and reedsman John Dierker, and a collective
improvisation on a 20' string instrument of Feather's creation by
the seven members of The Red Room Collective. http://www.recorded.com/releases/012.html
Mateusz Kołakowski – piano Alan Wykpisz – double bass Bartłomiej Korelus – drums
Arnold Schönberg's Sechs kleine Klavierstücke, Op. 19 is one of the milestones of music history. It is one of the most significant pieces documenting the turn away from the neoromantic aesthetic towards modernism, which in music was signified by traditional harmony being replaced by atonality, and romantic emotions by intellectualism. This path brought Schönberg to dodecaphony, and the composition itself became a model of miniature construction for his ingenious student, Anton Webern. Each of the cycle's six pieces is a condensed work with a distinct, individual character. The parts are defined by designations of tempo, as opposed to titles. The trio of Kołakowski:Wykpisz:Korelus subjects Schönberg's piece to a deconstruction, in an effort to transplant the essence of an atonal composition into the world of jazz. In effect, what we're hearing is entirely new music, and the challenge for connoiseurs is to follow what remains in it from Schönberg's original cycle. To be sure, this is not the form – condensed in the original, it's not the sphere of emotions – the group plays with a jazz expressiveness. The concept of atonality is also nothing new for modern jazz... and yet, the presence of the spirit is tangible throughout the album Schönberg. (Ryszard Wojciul)
Comments
One of the many from Guvera.
- The site still exists : http://brainwashed.com/vvm/
Oh, I see; I did get some of that stuff years ago but missed a lot; I thought it my be back!
But, looking did prompt me to find this, which I hadn't seen yet!:
https://vvmtest.bandcamp.com/
Be - One
Eric Hofbauer - "Three Places in New England"
Neil Feather's HAPPY PLACE 2
Sound Mechanic Neil Feather has been creating radical and unusual musical instruments since 1970 and is increasingly known as one of the most original musical thinkers of his day. His instruments each embody uniquely clever acoustic and engineering principles, and are visually arresting. The music he plays on the instruments is equally original, embodying new principles and resulting in a nearly alien idiom of music. In this programme he meets musician, composer and Hörspiel producer Felix Kubin.
http://neilfeather.com/#
- Thank you !
The film is cringeworthy nowadays, but in '71, as a youngster, it seemed incredible. The first copy of the album I had was the hexagon-shaped vinyl that came with "the key" - a very important part of the film if you haven't seen it. I even started writing a sci-fi novel that was an "extension" called "The Antillia Stratagem" during those years. A schoolmate "borrowed" my copy of the album - apparently permanently, so I had to buy another.
I didn't know about Neil Feather until Felix Kubin posted the portrait yesterday.
I found this on eMu:
Recorded 012
Neil Feather and friends at High Zero 2002
Roto-Melon
Instrument inventor Neil Feather is one of the most fascinating, and currently under-documented cultural figures on the East Coast. This record includes two highly interesting sets of improvised music which only scratch the surface of his activities: an explosive and tranced-out set with inventor Carly Ptak and reedsman John Dierker, and a collective improvisation on a 20' string instrument of Feather's creation by the seven members of The Red Room Collective.
http://www.recorded.com/releases/012.html
- From one of the overlooked albums of 2015
released December 17, 2016
UFO Walter Electric Bass Guitar, Electronics
Bernhard Wöstheinrich Synths, Keys, Electronics
Markus Strothmann Drums
Mateusz Kołakowski – piano
Alan Wykpisz – double bass
Bartłomiej Korelus – drums
Arnold Schönberg's Sechs kleine Klavierstücke, Op. 19 is one of the milestones of music history. It is one of the most significant pieces documenting the turn away from the neoromantic aesthetic towards modernism, which in music was signified by traditional harmony being replaced by atonality, and romantic emotions by intellectualism. This path brought Schönberg to dodecaphony, and the composition itself became a model of miniature construction for his ingenious student, Anton Webern. Each of the cycle's six pieces is a condensed work with a distinct, individual character. The parts are defined by designations of tempo, as opposed to titles. The trio of Kołakowski:Wykpisz:Korelus subjects Schönberg's piece to a deconstruction, in an effort to transplant the essence of an atonal composition into the world of jazz. In effect, what we're hearing is entirely new music, and the challenge for connoiseurs is to follow what remains in it from Schönberg's original cycle. To be sure, this is not the form – condensed in the original, it's not the sphere of emotions – the group plays with a jazz expressiveness. The concept of atonality is also nothing new for modern jazz... and yet, the presence of the spirit is tangible throughout the album Schönberg. (Ryszard Wojciul)
Who could resist that smile?