tag:blogger.com,1999:blog-82294222024-03-07T00:35:54.698-08:00INDUSTRIAL::MUSIC::LIBRARYAn on-line repository for historical documents (articles, photos, scans, etc.) which chronicle the origins of Industrial music.Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.comBlogger50125tag:blogger.com,1999:blog-8229422.post-54644397000684994742014-02-18T04:44:00.000-08:002014-02-18T18:32:42.776-08:00CAROLINER: Record Review<h4>
A brief review posted on <a href="http://mutant-sounds.blogspot.com/">Mutant Sounds</a> of CAROLINER's first LP: </h4>
<br />"Something about Caroliner's particular strain of musical sickness prompts critics to trot out their most hyperbolic verbiage and the instinct it elicits in me is much the same (but then, when isn't that my instinct?), so allow me to direct my own ejaculations of adjective syrup in their general direction as well. This, the very first missive from the Caroliner mothership is a monster of deliciously diseased technicolor bulldada grotesquerie, this Bay Area mob's fully formed aesthetic universe of heat-stroked and ergot poisoned hoot 'n' holler smurf-voiced avant-rock cacophony completely in play even at this early stage. Subsequent releases (especially their masterstroke "I'm Armed With Qts. Of Blood", posted a while back by Jim) would refine their psychotic stratagems into something truly penetrating and hallucinatory, but the needle gunked lo-fi gruel of Residents/Beefheart/Butthole Surfers-informed insanity that's oozing out of the grooves here is as awe inspiring as the emptied-garbage-can packaging is disgusting..."<div style="text-align: center;">
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<span style="font-size: x-small;">>></span> <a href="http://mutant-sounds.blogspot.com/2008/10/caroliner-rainbow-hernia-milk-queen.html" style="font-family: 'Trebuchet MS', sans-serif;"><span style="font-family: Trebuchet MS, sans-serif;">Caroliner Rainbow Hernia Milk Queen, </span><i>"Rear End Hernia Puppet Show"</i></a> </div>
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Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com0tag:blogger.com,1999:blog-8229422.post-1129716253151412582014-01-26T04:44:00.000-08:002014-02-07T16:12:57.290-08:00A Chronological History of Electronic and Computer Music (from 200 BC-1974).<div align="left">
<span style="font-family: arial;">2nd century, BC:<br /><b>The Hydraulis</b> was invented by Ktesibios sometime in the second century B.C. Ktesibios, the son of a Greek barber, was fascinated by pneumatics and wrote an early treatise on the use of hydraulic systems for powering mechanical devices. His most famous invention, the Hydraulis, used water to regulate the air pressure inside an organ. A small cistern called the pnigeus was turned upside down and placed inside a barrel of water. A set of pumps forced air into the pnigeus, forming an air reservoir, and that air was channeled up into the organ's action.<br /><br /><b>Greek Aeolian harp</b>. This may be considered the first automatic instrument. It was named for Aeolus, the Greek god of the wind. The instrument had two bridges over which the strings passed. The instrument was placed in a window where air current would pass, and the strings were activated by the wind current. Rather than being of different lengths, the strings were all the same length and tuned to the same pitch, but because of different string thicknesses, varying pitches could be produced.<br />--------------------------------------------------------------------------------<br /><br /><b>5th-6th centuries BC</b>, Pythagoras discovered numerical ratios corresponding to intervals of the musical scale. He associated these ratios with what he called "harmony of the spheres."<br /><br />890 AD, Banu Musa was an organ-building treatise; this was the first written documentation of an automatic instrument.<br /><br />ca. 995-1050, Guido of Arezzo, a composer, developed an early form of solmization that used a system of mnemonics to learn "unknown songs." The method involved the assignment of alphabetic representations, syllables, to varying joints of the human hand. This system of mnemonics was apparently adapted from a technique used by almanac makers of the time.<br /><br />1400s The hurdy-gurdy, an organ-grinder-like instrument, was developed.<br /><br />Isorhythmic motets were developed. These songs made use of patterns of rhythms and pitches to define the composition. Composers like Machaut (14th century), Dufay and Dunstable, (15th century) composed isorhythmic motets. Duration and melody patterns, the talea and the color respectively, were not of identical length. Music was developed by the different permutations of pitch and rhythmic values. So if there were 5 durations and 7 pitches, the pitches were lined up with the durations. Whatever pitches were 'leftover,' got moved to the first duration values. The composer would permute through all pitches and durations before the original pattern would begin again.<br /><br />Soggetto cavato, a technique of mapping letters of the alphabet into pitches, was developed. This technique was used Josquin's Mass based on the name of Hercules, the Duke of Ferrara. One application of soggetto cavato would involve be to take the vowels in Hercules as follows: e=re=D; u=ut=C (in the solfege system of do, re, mi, fa, etc., ut was the original do syllable); e=re=D. This pattern of vowel-mapping could continue for first and last names, as well as towns and cities.<br /><br />1500s The first mechanically driven organs were built; water organs called hydraulis were in existence.<br /><br />Don Nicola Vicentino (1511-1572), Italian composer and theorist, invented Archicembalo, a harpsichord-like instrument with six keyboards and thirty-one steps to an octave.<br /><br />1600s Athanasius Kircher, described in his book, Musurgia Universalis (1600), a mechanical device that composed music. He used number and arithmetic-number relationships to represent scale, rhythm, and tempo relations, called the Arca Musarithmica.<br /><br />1624 English philosopher and essayist, Francis Bacon wrote about a scientific utopia in the New Atlantis. He stated "we have sound-houses, where we practice and demonstrate all sounds, and their generation. We have harmonies which you have not, of quarter-sounds, and less slides of sounds."<br /><br />1641Blaise Pascal develops the first calculating machine.<br /><br />1644 The Nouvelle invention de lever, an hydraulic engine produced musical sounds.<br /><br />1738 Mechanical singing birds and barrel organs were in existence.<br /><br />The Industrial Revolution flourished. There were attempts to harness steam power to mechanical computation machines<br /><br />1761 Abbe Delaborde constructed a Clavecin Electrique, Paris, France.<br /><br />Benjamin Franklin perfected the Glass Harmonica.<br /><br />Maelzel, inventor of the metronome, and friend of Beethoven invented the Panharmonicon, a keyboard instrument.<br /><br />1787 Mozart composed the Musikalisches Wurfelspiel (Musical Dice Game). This composition was a series of precomposed measures arranged in random eight-bar phrases to build the composition. Each throw of a pair of dice represented an individual measure, so after eight throws the first phrase was determined.<br /><br />1796 Carillons, "a sliver of steel, shaped, polished, tempered and then screwed into position so that the projections on a rotating cylinder could pluck at its free extremity," were invented.<br /><br />1830 Robert Schumann composer the Abegg Variations, op. 1. This composition was named for one of his girlfriends. The principal theme is based on the letters of her name: A-B-E-G-G--this was a later application of a soggetto cavato technique.<br /><br />1832 Samuel Morse invented the telegraph.<br /><br />1833-34 Charles Babbage, a British scientist builds the Difference Enginer, a large mechanical computer. In 1834, he imagines the Analytical Engine, a machine that was never realized. Ada Lovelace, daughter of Lord Byron, assisted in the documentation of these fantastic devices.<br /><br />1835 Schumann composed the Carnaval pieces, op. 9 , twenty-one short pieces for piano. Each piece is based on a different character.<br /><br />1850 D.D. Parmelee patented the first key-driven adding machine.<br /><br />1859 David E. Hughes invented a typewriting telegraph utilizing a piano-like keyboard to activate the mechanism.<br /><br />1863 Hermann Helmholtz wrote the book, On the Sensations of Tone as a Physiological Basis for the Theory of Music. Historically this book was one of the foundations of modern acoustics (this book completed the earlier work of Joseph Sauveur).<br /><br />1867 Hipps invented the Electromechanical Piano in Neuchatel, Switzerland. He was the director of the telegraph factory there.<br /><br />1876 Elisha Gray (an inventor of a telephone, along with Bell) invented the Electroharmonic or Electromusical Piano; this instrument transmitted musical tones over wires.<br /><br />Koenig's Tonametric was invented. This instrument divided four octaves into 670 equal parts--this was an early instrument that made use of microtuning.<br /><br />1877 Thomas Edison (1847-1931) invented the phonograph. To record, an indentation on a moving strip of paraffin coated paper tape was made by means of a diaphragm with an attached needle. This mechanism eventually lead to a continuously grooved, revolving metal cylinder wrapped in tin foil.<br /><br />Emile Berliner (1851-1929) developed and patented the cylindrical and disc phonograph system, simultaneously with Edison.<br /><br />Dorr E. Felti, perfected a calculator with key-driven ratchet wheels which could be moved by one or more teeth at a time.<br /><br />1880 Alexander Graham Bell (1847-1922) financed his own laboratory in Washington, D.C. Together with Charles S. Tainter, Bell devised and patented several means for transmitting and recording sound.<br /><br />1895 Julian Carillo's theories of microtones, 96 tone scale, constructed instruments to reproduce divisions as small as a sixteenth tone. He demonstrated his instruments in New York, 1926. The instruments included an Octavina for eighth tones and an Arpa Citera for sixteenth tones. There are several recordings of Carillo's music, especially the string quartets.<br /><br />1897 E.S. Votey invented the Pianola, an instrument that used a pre-punched, perforated paper roll moved over a capillary bridge. The holes in the paper corresponded to 88 openings in the board.<br /><br />1898 Valdemar Poulson (1869-1942) patented his "Telegraphone," the first magnetic recording machine.<br /><br />1906 Thaddeus Cahill invented the Dynamophone, a machine that produced music by an alternating current running dynamos. This was the first additive synthesis device. The Dynamophone was also known as the Telharmonium. The instrument weighed over 200 tons and was designed to transmit sound over telephone wires; however, the wires were too delicate for all the signals. You can sort of consider him the 'Father of Muzak.' The generators produced pure tones of various frequencies and intensity; volume control supplied dynamics. Articles appeared in McClure's Magazine that stated "democracy in music...the musician uses keys and stops to build up voices of flute or clarinet, as the artist uses his brushes for mixing color to obtain a certain hue...it may revolutionize our musical art..."<br /><br />Lee De Forest (1873-1961) invented the Triode or Audion tube, the first vacuum tube.<br /><br />1907 Ferruccio Busoni (1866-1924) believed that the current musical system was severely limited, so he stated that instrumental music was dead. His treatise on aesthetics, Sketch of a New Music, discussed the future of music.<br /><br />1910 The first radio broadcast in NYC (first radio station was built in 1920, also in NYC).<br /><br />1912 The Italian Futurist movement was founded by Luigi Russolo (1885-1947), a painter, and Filippo Marinetti, a poet. Marinetti wrote the manifesto, Musica Futurista; the Futurist Movement's creed was "To present the musical soul of the masses, of the great factories, of the railways, of the transatlantic liners, of the battleships, of the automobiles and airplanes. To add to the great central themes of the musical poem the domain of the machines and the victorious kingdom of Electricity."<br /><br />Henry Cowell (1897-1965) introduced tone clusters in piano music. The Banshee and Aeolian Harp are good examples.<br /><br />1914 The first concert of Futurist music took place. The "art of noises" concert was presented by Marinetti and Russolo in Milan, Italy.<br /><br />1920 Lev (Leon) Theremin, Russia, invented the Aetherophone (later called the Theremin or Thereminovox). The instrument used 2 vacuum tube oscillators to produce beat notes. Musical sounds were created by "heterodyning" from oscillators which varied pitch. A circuit was altered by changing the distance between 2 elements. The instrument had a radio antenna to control dynamics and a rod sticking out the side that controlled pitch. The performer would move his/her hand along the rod to change pitch, while simultaneously moving his/her other hand in proximity to the antenna. Many composers used this instrument including Varese.<br /><br />1922 Darius Milhaud (b. 1892) experimented with vocal transformation by phonograph speed changes.<br /><br />Ottorino Respighi (1879-1936) called for a phonograph recording of nightingales in his Pini di Roma (Pines of Rome).<br /><br />1926 Jorg Mager built an electronic instrument, the Spharophon. The instrument was first presented at the Donaueschingen Festival (Rimsky-Korsakov composed some experimental works for this instrument). Mager later developed a Partiturophon and a Kaleidophon, both used in theatrical productions. All of these instruments were destroyed in W.W.II.<br /><br />George Antheil (1900-1959) composed Ballet Mechanique. Antheil was an expatriate American living in France. The work was scored for pianos, xylophones, pianola, doorbells, and an airplane propeller.<br /><br />1928 Maurice Martenot (b. 1928, France) built the Ondes Martenot (first called the Ondes Musicales). The instrument used the same basic idea as the Theremin, but instead of a radio antenna, it utilized a moveable electrode was used to produce capacitance variants. Performers wore a ring that passed over the keyboard. The instrument used subtractive synthesis. Composers such as Honegger, Messiaen, Milhaud, Dutilleux, and Varese all composed for the instrument.<br /><br />Friedrich Trautwein (1888-1956, Germany) built the Trautonium. Composers such as Hindemith, Richard Strauss, and Varese wrote for it, although no recordings can be found.<br /><br />1929 Laurens Hammond (b. 1895, USA), built instruments such as the Hammond Organ, Novachord, Solovox, and reverb devices in the United States. The Hammond Organ used 91 rotary electromagnetic disk generators driven by a synchronous motor with associated gears and tone wheels. It used additive synthesis.<br /><br />1931 Ruth Crawford Seeger's String Quartet 1931 was composed. This is one of the first works to employ extended serialism, a systematic organization of pitch, rhythm, dynamics, and articulation.<br /><br /><b>Henry Cowell</b> worked with <b>Leon Theremin</b> to build the <b>Rhythmicon</b>, an instrument which could play metrical combinations of virtually unlimited complexity. With this instrument Cowell composed the Rhythmicana Concerto.<br /><br /><b>Jorg Mager</b> (Germany) was commissioned to create <b>electronic bell sounds</b> for the Bayreuth production of <b>Parsifal</b>.<br /><br /><b>1935,</b> <b>Allegemeine Elektrizitats Gesellschaft</b> (<b>AEG</b>), built and demonstrated the<b> first Magnetophon </b>(<b>tape recorder</b>).<br /><br /><b>1937,</b> "War of the Worlds" was directed by Orson Welles. Welles was the first director to use the fade and dissolve technique, first seen in "Citizen Kane." To date, most film directors used blunt splices instead.<br /><br /><b>Electrochord</b> (the <b>electroacoustic piano</b>) was built.<br /><br /><b>1938,</b> <b>Novachord</b> built.<br /><br /><b>1939,</b> Stream of consciousness films came about.<br /><br /><br />--------------------------------------------------------------------------------<br /><br /><b>John Cage</b> (1912-1992) began experimenting with indeterminacy. In his composition, Imaginary Landscape No. 1, multiple performers are asked to perform on multiple record players, changing the variable speed settings.<br /><br />1930s Plastic audio tape was developed.<br /><br /><b>The Sonorous Cross</b> (an instrument like a Theremin) was built.<br /><br /><b>1941, Joseph Schillinger</b> wrote the The Schillinger System of Musical Composition. This book offered prescriptions for composition--rhythms, pitches, harmonies, etc. Schilllinger's principal students was George Gershwin and Glenn Miller.<br /><br />The <b>Ondioline</b> was built.<br /><br /><b>1944,</b> Percy Grainger and Burnett Cross patented a machine that "freed" music from the constraints of conventional tuning systems and rhythmic inadequacies of human performers. Mechanical invention for composing "Free Music" used <b>eight oscillators</b> and synchronizing equipment in conjunction with photo-sensitive graph paper with the intention that the projected notation could be converted into sound.<br /><br /><b>1947,</b> Bell Labs developed and produced the solid state transistor.<br /><br /><b>Milton Babbitt</b>'s Three Compositions for Piano serialized all aspects of pitch, rhythm, dynamics, and articulation.<br /><br />The <b>Solovox</b> and the <b>Clavioline</b> were built.<br /><br />1948 John Scott Trotter built a <b>composition machine</b> for popular music.<br /><br />Hugh LeCaine (Canada) built the Electronic Sakbutt, an instrument that actually sounded like a cello.<br /><b><br />Pierre Schaeffer</b> (b. 1910), a sound technician working at Radio-diffusion-Television Francaise (RTF) in Paris, produced several short studies in what he called <b>Musique Concrete</b>. October, 1948, Schaeffer's early studies were broadcast in a "<b>concert of noises</b>."<br /><br />Joseph Schillinger wrote The Mathematical Basis of the Arts.<br /><br />1949 Pierre Schaeffer and engineer Jacques Poullin worked on experiments in sound which they titled "Musique Concrete." 1949-50 Schaeffer and Henry (1927-96), along with Poullin composed Symphonie pour un homme seul (Symphony for a Man Alone); the work actually premiered March 18, 1950.<br /><br />Olivier Messiaen composed his Mode de valeurs et d'intensities (Mode of Durations and Intensities), a piano composition that "established 'scales' not only of pitch but also of duration, loudness, and attack."<br /><br />The Melochord was invented by H. Bode.<br /><br />1940s The following instruments were built: the Electronium Pi (actually used by a few German composers, including: Brehme, Degen, and Jacobi), the Multimonica, the Polychord organ, the Tuttivox, the Marshall organ, and other small electric organs.<br /><br />1950 The Milan Studio was established by Luciano Berio (b. 1925, Italy).<br /><br />1951-> Clara Rockmore performed on the Theremin in worldwide concerts.<br /><br />Variations on a Door and a Sigh was composed by Pierre Henry.<br /><br />The RTF studio was formally established as the Groupe de Musique Concrete, the group opened itself to other composers, including Messiaen and his pupils Pierre Boulez, Karlheinz Stockhausen, and George Barraque. Boulez and Stockhausen left soon after because Schaeffer was not interested in using electronically-generated sounds, but rather wanted to do everything based on recordings.<br /><br />John Cage's use of indeterminacy culminated with Music of Changes, a work based on the charts from the I Ching, the Chinese book of Oracles.<br /><br />Structures, Book Ia was one of Pierre Boulez' earliest attempts at employing a small amount of musical material, called cells (whether for use as pitches, durations, dynamics, or attack points), in a highly serialized structure.<br /><br />1951-53 Eimert and Beyer (b. 1901) produced the first compositions using electronically-generated pitches. The pieces used a mechanized device that produced melodies based on Markov analysis of Stephen Foster tunes.<br /><br />1952 The Cologne station of Nordwestdeutscher Rundfunk (later Westdeutscher Rundfunk) was founded by Herbert Eimert. He was soon joined by Stockhausen, and they set out to create what they called Elektronische Musik.<br /><br />John Cage's 4'33" was composed. The composer was trying to liberate the performer and the composer from having to make any conscious decisions, therefore, the only sounds in this piece are those produce by the audience.<br /><br />1953Robert Beyer, Werner Meyer-Eppler (b. 1913) and Eimert began experimenting with electronically-generated sounds. Eimert and Meyer-Eppler taught at Darmstadt Summer School (Germany), and gave presentations in Paris as well.<br /><br />Louis and Bebe Baron set up a private studio in New York, and provided soundtracks for sci-fi films like Forbidden Planet (1956) and Atlantis that used electronic sound scores.<br /><br />Otto Luening (b. 1900, USA; d. 1996, USA) and Vladimir Ussachevsky (b. 1911, Manchuria; d. 1990, USA) present first concert at the Museum of Modern Art in New York, October 28. The program included Ussachevsky's Sonic Contours (created from piano recordings), and Luening's Fantasy in Space (using flute recordings). Following the concert, they were asked to be on the Today Show with Dave Garroway. Musicians Local 802 raised a fuss because Luening and Ussachevsky were not members of the musicians' union.<br /><br /><b>1953-4</b> Karlheinz Stockhausen (b. 1928) used Helmholtz' research as the basis of his Studie I and Studie II. He tried to build increasingly complex synthesized sounds from simple pure frequencies (sine waves).<br /><br /><b>1954</b> The Cologne Radio Series "Music of Our Time" (October 19) used only electronically-generated sounds by Stockhausen, Eimert, Pousseur, etc. The pieces used strict serial techniques.<br /><br />Dripsody was composed by Hugh LeCaine. The single sound source for this concrete piece is a drip of water.<br /><br /><b>1955</b> Harry Olson and Belar, both working for RCA, invent the Electronic Music Synthesizer, aka the Olson-Belar Sound Synthesizer. This synth used sawtooth waves that were filtered for other types of timbres. The user programmed the synthesizer with a typewriter-like keyboard that punched commands into a 40-channel paper tape using binary code.<br /><br />The Columbia-Princeton Studio started, with its beginnings mostly in the living room of Ussachevsky and then the apartment of Luening.<br /><br />Lejaren Hiller (1924-92) and Leonard Isaacson, from the University of Illinois composed the Illiac String Quartet, the first piece of computer-generated music. The piece was so named because it used a Univac computer and was composed at the University of Illinois.<br /><br /><b>1955-56</b> Karlheinz Stockhausen composed Gesang der Junglinge. This work used both concrete recordings of boys' voices and synthesized sounds. The original version was composed for five loudspeakers, but was eventually reduced to four. The text from the Benedicite (O all ye works of the Lord, bless ye the Lord), which appears in Daniel as the canticle sung by the three young Jews consigned to the fiery furnace by Nebuchadnezzar.<br /><br /><b>1956 </b>Martin Klein and Douglas Bolitho used a Datatron computer called Push-Button Bertha to compose music. This computer was used to compose popular tunes; the tunes were derived from random numerical data that was sieved, or mapped, into a preset tonal scheme.<br /><br />Tokyo at Japanese Radio, an electronic studio established.<br /><br />Luening and Ussachevsky wrote incidental music for Orson Welles' King Lear , City Center, New York.<br /><br /><b>1957</b> Of Wood and Brass was composed by Luening. Sound sources included trumpets, trombones and marimbas.<br /><br />Scambi, composed by Henri Pousseur, was created at the Milan Studio, Italy.<br /><br />Warsaw at Polish Radio, an electronic studio established.<br /><br />Munich, the Siemens Company, an electronic studio established.<br /><br />Eindhoven, the Philips Company, an electronic studio established.<br /><br />David Seville created the Chipmunks, by playing recordings of human voices at double speed. Electronic manipulation was never really used again in rock for about ten years.<br /><br /><b>1958 </b>Edgard Varese (1883-1965) composed Poeme Electronique for the World's Fair, Brussels. The work was composed for the Philips Pavilion, a building designed by the famous architect, Le Corbusier who was assisted by Iannis Xenakis (who later became well-known as a composer rather than an architect). The work was performed on ca. 425 loudspeakers, and was accompanied by projected images. This was truly one of the first large-scale multimedia productions.<br /><br />Iannis Xenakis (b.1922) composed Concret PH. This work was also composed for the Brussels World's Fair. It made use of a single sound source: amplified burning charcoal.<br /><br />Max Mathews, of Bell Laboratories, generated music by computers.<br /><br />John Cage composed Fontana Mix at the Milan Studio.<br /><br />London, BBC Radiophonic Workshop, an electronic studio established.<br /><br />Stockholm, Swedish Radio, an electronic studio established.<br /><br />The Studio for Experimental Music at the University of Illinois established, directed by Lejaren Hiller.<br /><br />Pierre Henry leaves the Group de Musique Concrete; they reorganize as the Groupe de Recherches Musicales (GRM)<br /><br />Gordon Mumma and Robert Ashley founded the Cooperative Studio for Electronic Music, Ann Arbor , MI (University of Michigan).<br /><br />Luciano Berio composed Thema-omaggio a Joyce. The sound source is woman reading from Joyce's Ulysses.<br /><br /><b>1958-60,</b> <b>Stockhausen</b> composed Kontakte (Contacts) for four-channel tape. There was a second version for piano, percussion and tape.<br /><br /><b>1958-9</b> Mauricio Kagel, an Argentinian composer, composed Transicion II, the first piece to call for live tape recorder as part of performance. The work was realized in Cologne. Two musicians perform on a piano, one in the traditional manner, the other playing on the strings and wood. Two other performers use tape recorders so that the work can unites its present of live sounds with its future of pre-recorded materials from later on and its past of recordings made earlier in the performance.<br /><br />Max Mathews, at Bell Labs, began experimenting with computer programs to create sound material. Mathews and Joan Miller also at Bell Labs, write MUSIC4, the first wide-spread computer sound synthesis program. Versions I through III were experimental versions written in assemble language. Music IV and Music V were written in FORTRAN. MUSIC4 did not allow reentrant instruments (same instrument becoming active again when it is already active), MUSIC5 added this. MUSIC4 required as many different instruments as the thickest chord, while MUSIC5 allowed a score to refer to an instrument as a template, which could then be called upon as many times as was necessary.<br /><br />The Columbia-Princeton Electronic Music Center was formally established. The group had applied through the Rockefeller Foundation, and suggested the creation of a University Council for Electronic Music. They asked for technical assistants, electronic equipment, space and materials available to other composers free of charge. A grant of $175,000 over five years was made to Columbia and Princeton Universities. In January, 1959, under the direction of Luening and Ussachevsky of Columbia, and Milton Babbitt and Roger Sessions of Princeton, the Center was formally established.<br /><br />The RCA Mark II synthesizer was built at Columbia-Princeton Electronic Music Center (the original version was built for the artificial creation of human speech). The Mark II contained oscillators and noise generators. The operator had to give the synthesizer instructions on a punched paper roll to control pitch, volume, duration and timbre. The synth used a conventional equal-tempered twelve-note scale.<br /><br /><b>1960</b> Composers of more traditional orchestral music began to rebel. Many composers tried to get quasi-electronic sounds out of traditional instruments. Bruno Bartelozzi, wrote new book on extended instrumental techniques.<br /><br />Morton Subotnick, Pauline Oliveros, and Ramon Sender established the San Francisco Tape Music Center.<br /><br />John Cage composed Cartridge Music, an indeterminate score for several performers applying gramophone cartridges and contact mics to various objects.<br /><br /><b>1961 </b>The first electronic music concerts at the Columbia-Princeton Studio were held; the music was received with much hostility from other faculty members.<br /><br />Varese finally completed Deserts at the Columbia-Princeton Studio.<br /><br />Fortran-based Music IV was used in the generation of "Bicycle Built for Two" (Mathews).<br /><br />The production of integrated circuits and specifically VLSI-very large scale integration.<br /><br />Robert Moog met Herbert Deutsch, and together they created a voltage-controlled synthesizer.<br /><br />Luciano Berio composed Visage. This radio composition is based on the idea of non-verbal communication. There are many word-like passages, but only one word is spoken during the entire composition (actually heard twice), parole (Italian for 'word'). Cathy Berberian, the composer's wife, was the performer.<br /><br />The theoretical work, Meta+Hodos, written in 1961 by James Tenney (META Meta+Hodos, 1975 followed).<br /><br /><b>1962</b> Bell Labs mass produces transistors, professional amplifiers and suppliers.<br /><br />PLF 2 was developed by James Tenney. This computer program was used to write Four Stochastic Studies, Ergodos and others.<br /><br />Iannis Xenakis composed Bohor for eight tracks of sound.<br /><br />Milton Babbitt composed Ensembles for Synthesizer (1962-64) at the Columbia-Princeton Studio.<br /><br />At the University of Illinois, Kenneth Gaburo composed Antiphony III, for chorus and tape.<br /><br />Paul Ketoff built the synket. This synthesizer was built for composer John Eaton and was designed specifically as a live performance instrument.<br /><br /><b>1963</b> Lejaren Hiller and Robert Baker composed the Computer Cantata.<br /><br />Babbitt composed Philomel at the Columbia-Princeton Studio. The story is about Philomel, a woman without a tongue, who is transformed into a nightingale (based on a story by Ovid).<br /><br />Mario Davidovsky composed Synchronism I for flute and tape. Davidovsky has since written many "synchronism" pieces. These works are all written for live instrument(s) and tape. They explore the synchronizing of events between the live and tape.<br /><br />1964 The fully developed Moog was released. The modular idea came from the miniaturization of electronics.<br /><br />Gottfried Michael Koenig used PR-1 (Project 1), a computer program that was written in Fortran and implemented on an IBM 7090 computer. The purpose of the program was to provide data to calculate structure in musical composition; written to perform algorithmic serial operations on incoming data. The second version of PR-1 completed, 1965.<br /><br />Karlheinz Stockhausen composed Mikrophonie I, a piece that required six musicians to generate. Two performers play a large tam-tam, while two others move microphones around the instrument to pick up different timbres, and the final two performers are controlling electronic processing.<br /><br />Ilhan Mimaroglu, a Turkish-American composer, wrote Bowery Bum. This is a concrete composition, and used rubber band as single source. It was based on a painting by Dubuffet.<br /><br />1965 Hi-fi gear is commercially produced.<br /><br />The first commercially-available Moog.<br /><br />Varese died.<br /><br />Karlheinz Stockhausen composed Solo. The composition used a tape recorder with moveable heads to redefine variations in delay between recording and playback, live manipulation during performance.<br /><br />Karlheinz Stockhausen composed Mikrophonie II for choir, Hammond organ, electronics and tape.<br /><br />Steve Reich composed It's gonna rain. This is one of the first phase pieces.<br /><br />1966 The Moog Quartet offered world-wide concerts of (mainly) parlor music.<br /><br />Herbert Brun composed Non Sequitur VI<br /><br />Steve Reich composed Come out, another phase piece.<br /><br />1967 Walter Carlos (later Wendy) composed Switched on Bach using a Moog synthesizer.<br /><br />Iannis Xenakis wrote Musiques Formelles (Formalized Music). The first discussion of granular synthesis and the clouds and grains of sound is presented in this book.<br /><br /><br />--------------------------------------------------------------------------------<br /><br />Leon Kirschner composed String Quartet No. 3, the first piece with electronics to win the Pulitzer Prize.<br /><br />Kenneth Gaburo composed Antiphony IV, a work for trombone, piccolo, choir and tape.<br /><br />Morton Subotnick composed Silver Apples of the Moon (title from Yeats), the first work commissioned specifically for the recorded medium.<br /><br />The Grateful Dead released Anthem of the Sun and Frank Zappa and the Mothers of Invention released Uncle Meat. Both albums made extensive use of electronic manipulation.<br /><br />1968 Lejaren Hiller and John Cage composed HPSCHD.<br /><br />Morton Subotnick composed The Wild Bull<br /><br />Hugh Davies compiled an international catalogue of electronic music.<br /><br />1969 Terry Riley composed Rainbow in Curved Air<br /><br />late 1960s The Sal-Mar Construction was built. The instrument was named for composer Salvatore Martirano and designed by him. The Sal-Mar Construction weighed over fifteen hundred pounds and consisted of "analog circuits controlled by internal digital circuits controlled by the composer/performer via a touch-control keyboard with 291 touch-sensitive keys."<br /><br />Godfrey Winham and Hubert Howe adapted MUSIC IV for the IBM 7094 as MUSIC4B was written in assembly language; MUSIC4BF (a Fortran-language adaptation of MUSIC4B, one version was written by Winham, another was written by Howe).<br /><br />Music V variants include MUSIC360 and MUSIC11 for the IBM360 and the PDP11 computers, these were written by Barry Vercoe, Roger Hale, and Carl Howe at MIT, respectively.<br /><br />GROOVE was developed by Mathews and F. Richard Moore at Bell Labs, and was used to control analog synthesizers.<br /><br />1970 Charles Wuorinen composed "Times Encomium," the first Pulitzer Prize winner for entirely electronic composition.<br /><br />Charles Dodge composed Earth's Magnetic Field. This is a great example of mapping numerical statistics into musical data.<br /><br />Steve Reich composed Four Organs.<br /><br />1972 Pink Floyd's album The Dark Side of the Moon was released; it used ensembles of synthesizers, also used concrete tracks as interludes between tunes.<br /><br />1973 SAWDUST, a language by Herbert Brun, used functions including: ELEMENT, LINK, MINGLE, MERGER, VARY, and TURN.<br /><br />1974 The Mellotron was built. The instrument was an early sample player that used tape loops. There were versions that played string </span></div>
Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com3tag:blogger.com,1999:blog-8229422.post-633844361772003792010-12-14T11:11:00.000-08:002010-12-16T12:43:44.303-08:00GRISTLEISM - Throbbing Gristle-Inspired Sound Toy/Looping Device!<div style="font-family: "Courier New",Courier,monospace;"><span style="font-size: x-small;"><iframe align="right" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=industrialmus-20&o=1&p=8&l=bpl&asins=B002T4GX1U&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe><span style="font-family: "Trebuchet MS",sans-serif;"></span><span style="font-family: "Trebuchet MS",sans-serif;"></span></span></div><div style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"></span><a href="http://www.amazon.com/dp/B002T4GX24?tag=industrialmus-20&camp=15309&creative=374845&linkCode=st1&creativeASIN=B002T4GX24&adid=050C7VM01DRT23H2Z1QM">Gristleism</a><span style="font-size: x-small;"> (5.0 out of 5 stars)<span id="goog_777381807"></span><span id="goog_777381808"></span></span></div><div style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"> "An Odd Thing, January 2, 2010</span></div><div style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">By C. Pilkington 'Music Enthusiast'"</span><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"> </span></span><br />
<span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">((Review found on </span><a href="http://www.amazon.com/dp/B002T4GX24?tag=industrialmus-20&camp=15309&creative=374845&linkCode=st1&creativeASIN=B002T4GX24&adid=050C7VM01DRT23H2Z1QM" style="font-family: "Trebuchet MS",sans-serif;">Amazon.com</a><span style="font-family: "Trebuchet MS",sans-serif;">)): </span></span></div><div style="font-family: "Courier New",Courier,monospace;"><br />
</div><div style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">I've enjoyed ambient music for quite awhile, and artists like Brian Eno are truly inspiring; even more in present times. His philosophy is that good ambient music should be something that is poignant when both focused on, or placed in the background.</span></div><div style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">I stumbled on this little wonder after reading quite a bit about the Buddha Machines that FM3 introduced to the world several years ago. This is an offshoot of that product, and instead of containing blissful, soothing tones, Gristleism carries some very creepy and overall strange sounds originally created by Throbbing Gristle. For weird people like me, it's a very interesting little gadget.</span></div><div style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Before I continue, I have the red Gristleism; there are at least two other color choices at the moment, I just happened to pick the red one. Every Gristleism has a very simple plastic design: it has a volume adjuster (which also doubles as an on/off switch), a loop selector button, and a pitch/tempo shifting wheel; all located on top of this small, square device. The speaker is located on the front of the unit, and takes up most of the front. The Gristleism runs on 2 AA batteries, and has a unique design that fills the back of the toy. Even the box it comes shipped in has an ornate, but effective, design. That's the whole thing in a nutshell! </span><br />
<div style="text-align: right;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCmz1JJAt1wP2HOwkr6xo-hg1kt0p8B5AexJKA1SPXyrwcOLznSDK2MzpPjzhiR-mYd0GSMIpjNcLWBBztpUu3XPFrhkcDdkR1ehOSjhN-dwDfajEuGOUHOvy4ocqMEdSBQt4w/s1600/IML__TG%252BGristleism.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCmz1JJAt1wP2HOwkr6xo-hg1kt0p8B5AexJKA1SPXyrwcOLznSDK2MzpPjzhiR-mYd0GSMIpjNcLWBBztpUu3XPFrhkcDdkR1ehOSjhN-dwDfajEuGOUHOvy4ocqMEdSBQt4w/s320/IML__TG%252BGristleism.jpg" width="320" /></a></div></div><div style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Now, how is this supposed to be interesting, you ask? Well, the Gristleism contains 13 loops; all ranging in length. You can use the pitch/tempo shifter and really bend each loop into something entirely different; thus, the lasting power of this toy seems to be quite large. You can play with it for just a few minutes, and get a good grasp on what the thing is capable of. But, if you dive into it over time, you'll realize that there's a lot you can do with it.</span></div><div style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Now, when I get on the computer, sometimes I will just set up the Gristleism, and let it play in the background. It enhances your environment without being too much of a distraction (unless you set the volume really high). The Buddha Machines are obviously much better for this purpose, but I like the dark contrast the Gristleism has to the light of the Buddha Machines. If you have several devices, of either the Buddha or Gristleism variety, there's even more fun to be had.</span></div>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com5tag:blogger.com,1999:blog-8229422.post-1109228096755840912010-11-29T11:11:00.000-08:002010-12-14T11:56:55.621-08:00Interview with Monte Cazazza (Slash,1979)<div style="font-family: arial; text-align: left;"><b>SLASH</b> Magazine (Vol. 2, #3) <b>| January 1979 <iframe align="right" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=industrialmus-20&o=1&p=8&l=bpl&asins=B0000080MS&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe></b><br />
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<span style="font-size: x-small; font-style: italic;"> "From Oakland to England, from obscurity to being "very widely unknown", Monte Cazazza has a past. One of our finest investigative reporters lays it bare... </span></div></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;"><i><br />
</i>Next record due for release from <b>Industrial Records</b> is from <b>Monte Cazazza</b>, a reclusive Oakland artist whose performances have violated the sensibilities of indignant art critics, the entire acid-damaged Bay Area Avantgarde and jaded art-cliques from Menlo Park to Venice (Italy). He's been described as a "brilliant monster," "art gangster," and "a real sick guy," but one thing is unanimous: his personal appearances really rile people up.</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;"><br />
</span> </div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;">His detractors just don't seem to get the point. Genet says it best: "To escape the horror, bury yourself in it." Like other artists who are obsessed with violent images, Cazazza's early life was riddled with hideous events and accidents, including witnessing a necrophiliac in action. Rather than choke down those nightmares, he spat them back out at the world.</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;"><br />
</span> </div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;">Cazazza's reputation was spawned at Oakland College of Arts and Crafts when for his first sculpture assignment he created a cement "waterfall" down the main stairway of the building, making it permanently impassable and got the boot on the second day of school.</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;"><br />
</span> </div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;">His formal education completed, he passed quickly through a mutilated rubber doll period then disappeared among dark rumours of hospitals and jails. He resurfaced with a blatantly commercial attempt to woo the whims of the wealthy with tasteful pornographic collages of orchids sprouting penises at a San Francisco exhibit. He was contacted by an ageing countess as a possible benefactress and lunched at her famous Oakland mansion while visions of dollar signs danced drunkenly around the plates. The Contessa died two weeks later.</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;"><br />
</span> </div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;">Shortly thereafter in 1972 he achieved infamy when he was invited to attend an arts conference weekend-in-the-woods to share transcendental conversations on perspective and grant-writing while nestling paint-spattered jeans in pine needles and toasting hand-dyed marshmallows for "S'Mores" in an ultimate artsy outdoorsy atmosphere. Cazazza arrived with an armed bodyguard and sprinkled arsenic into all the food. At lunch he dropped bricks with the word "dada" painted on them on artistic feet. At dinner he burned a partially decomposed, maggot-infested cat at the table. His bodyguard blocked the exit, and several participants fell ill due to the stench. Photos and stories of this event were published as far away as Holland.</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;"><br />
</span> </div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;"><b>Genesis P-Orridge</b> and <b>Cosey Fanni Tutti</b> of <b>Throbbing Gristle</b> read of Cazazza in <b><i>Vile Magazine</i></b> in <b>1974</b> when he was a classic Valentine's Day cover boy holding a dripping bloody heart that looked torn out of his chest. The Gristle's and Cazazza's mutual fascination with pornography and fascism prompted the limeys to pay a call to California to view in person the 15'x15' silver screw together swastika Cazazza constructed which could be rapidly dismantled in case of police raids or guerrilla JDL attacks.</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;"><br />
</span> </div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;">Since their visit was at the height of the Gary Gilmore furor, they all photographed each other in blindfolds as though they were in front of a firing squad, complete with a real loaded gun pointed at their hearts to get better reactions. Postcards made of the photos were mailed immediately after Gilmore's execution to the warden of the Utah penitentiary and several newspapers. Over 6,000 T-shirts with the same photo were sold in England, and a picture of one was on the front page of the Hong Kong Daily News. Their mock photo was mistakenly considered the official execution photo according to P-Orridge.</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;"><br />
</span> </div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;">T-shirt sales financed Cazazza's 1977 trip to England where he was let loose in <b>Industrial Records</b><i><b>P.S. (PLASTIC SURGERY)</b>, <b>BUSTED KNEECAPS</b>, <b>F.F.A. (FIST FUCKERS OF AMERICA)</b>,<b> HATE</b>,<b> </b></i>and<i><b> TO MOM ON MOTHER'S DAY</b></i>. A Cazazza single will be released in March.</span> studios with an engineer, a chainsaw, the innards of a piano which was played with hammers and violin bows, and other musical instruments. Ten songs were recorded with titles like </div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;"><br />
</span> </div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;">Also soon for release from the Throbbing Gristle umbrella corporation is a movie in which Cazazza and a 14 year-old boy are electrocuted. Monte also appeared in Kerry Colonna's <b><i>DECCADANCE</i></b></span> movie in a suit he made out of rubber tubing and razor blades.</div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;"><br />
</span> </div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;">Cazazza edited a fanzine <b>NITROUS OXIDE</b> in <b>1971</b> (<i>far preceding</i> <i><b>Sniffin' Glue</b></i>). He co-edits <b>WIDOWS AND ORPHANS</b>, a colour Xerox picture magazine. He also gives shows and illustrated lectures on Siamese Twins that he researched in medical libraries.</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;"><br />
</span> </div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;">But still his reputation is so nasty that he rarely leaves his house, although he did go out on Halloween dressed as Kearney, the trash bag murderer. He wore a cheap plastic mask and carried a green garbage bag filled with animal livers and hearts (like Hermann Nitsch) and a bloody mannequin head used by medical students for practice in giving mouth-to-mouth respiration. Definitely the life of the party.</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;"><br />
</span> </div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;">Cazazza's pet money-making project for the future is further exploration of "murder junkies" via a double bill of the stories of Edmund Kemper (a cannibalistic necrophiliac) and Dean Coryl, the Texas "candy man" whose brutal sex murders peaked at a chronic one-a-day habit until he had killed 27 teenage boys (before authorities stopped counting).</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;"><br />
</span> </div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;">For artists who think their work is daring, Cazazza's is a double-dare. Those avant garde artists who use sex and violence as a chic intellectual playground for "art theory" are the first to head for the exits when confronted by Cazazza's work. His scientific expose of voyeuristic urges for sex and violence is no-holds-barred. And it is all done with a comic edge that amplifies the sounds of skeletons being yanked from the most repressed closets.</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;"><br />
</span> </div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: small;">Cazazza never gives personal interviews. He bought a hot Ansa-phone and keeps it hooked up 24 hours a day. When he returned my call, I asked him if he wanted to make any statements for Slash. "NO, NO, NO," he said, "I don't need to talk, I don't need to make quotes. You see, I'm already VERY WIDELY UNKNOWN." <b>-</b></span><span style="font-size: small;"> <b>by JB</b></span><span style="font-family: arial;"> <span style="font-size: x-small;"><i>*This article was reproduced by Industrial Records and included with Cazazza's "To Mom on Mothers Day / Candy Man" 7-inch single)."</i></span> </span><br />
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<span style="font-family: arial;"><span style="font-size: 85%;"><span style="font-size: x-small;">((Republished here, without permission, orig. found at the <a href="http://www.brainwashed.com/axis" style="font-weight: bold;">Axis Archives,</a> on <a href="http://www.brainwashed.com/" style="font-weight: bold;">Brainwashed.com</a> ))</span><br />
</span></span></div><div style="text-align: left;"> </div><div style="text-align: left;"><span style="font-family: arial; font-size: x-small;"><span style="font-size: xx-small;">[technorati tags]<span style="font-weight: bold;">:</span> <a href="http://technorati.com/tag/monte+cazazza" rel="tag">monte cazazza</a></span><span style="font-size: xx-small;"> </span><a href="http://technorati.com/tag/cazazza" rel="tag"><span style="font-size: xx-small; font-weight: bold;">::</span><span style="font-size: xx-small;"> cazazza </span></a></span></div>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com1tag:blogger.com,1999:blog-8229422.post-44650543058933252792010-08-15T13:26:00.000-07:002010-08-15T13:56:45.997-07:00Ohm: The Early Gurus of Electronic Music<a imageanchor="1" target="_blank" href="http://www.amazon.com/Ohm-Early-Gurus-Electronic-Special/dp/B000BDGVX6?ie=UTF8&tag=industrialmus-20&link_code=bil&camp=213689&creative=392969"><img alt="Ohm: The Early Gurus of Electronic Music Special Edition 3CD + DVD" src="http://ws.amazon.com/widgets/q?MarketPlace=US&ServiceVersion=20070822&ID=AsinImage&WS=1&Format=_SL160_&ASIN=B000BDGVX6&tag=industrialmus-20" /></a><img src="http://www.assoc-amazon.com/e/ir?t=industrialmus-20&l=bil&camp=213689&creative=392969&o=1&a=B000BDGVX6" width="1" height="1" border="0" alt="" style="border:none !important; margin:0px !important; padding: 0px !important" /> <br />
<a target="_blank" href="http://www.amazon.com/Ohm-Early-Gurus-Electronic-Special/dp/B000BDGVX6?ie=UTF8&tag=industrialmus-20&link_code=btl&camp=213689&creative=392969">Ohm: The Early Gurus of Electronic Music Special Edition 3CD + DVD</a><img src="http://www.assoc-amazon.com/e/ir?t=industrialmus-20&l=btl&camp=213689&creative=392969&o=1&a=B000BDGVX6" width="1" height="1" border="0" alt="" style="border:none !important; margin:0px !important; padding: 0px !important" /><br />
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[Track Listings] <br />
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Disc: 1<br />
1. Valse Sentimentale - Clara Rockmore<br />
2. Oraison - Ens D'Ondes De Montreal<br />
3. Etude Aux Chemins De Fer - Pierre Schaeffer<br />
4. Williams Mix - John Cage<br />
5. Klangstudie II - Herbert Eimert/Robert Beyer<br />
6. Low Speed - Otto Luening<br />
7. Dripsody - Hugh Le Caine<br />
8. Forbidden Planet: Main Title - Louis Barron/Bebe Barron<br />
9. Elektronische Tanzste: Concertando Rubato - Oskar Sala<br />
10. Poem Electronique - Edgard Varese<br />
11. Sine Music (A Swarm Of Butterflies Encountered Over The Ocean) - Richard Maxfield<br />
12. Apocalypse-Part 2 - Tod Dockstader<br />
13. Kontakte - James Tenney/William Winant<br />
14. Wireless Fant - Vladimir Ussachevsky<br />
15. Philomel - Milton Babbitt<br />
16. Spacecraft - MEV<br />
Disc: 2<br />
1. Cindy Electronium - Raymond Scott<br />
2. Pendulum Music - Sonic Youth<br />
3. Bye Bye Butterfly - Pauline Oliveros<br />
4. Projection Esemplastic For White Noise - Joji Yuasa<br />
5. Silver Apples Of The Moon, Part 1 - Morton Subotnick<br />
6. Rainforest Version 1 - David Tudor<br />
7. Poppy Nogood - Terry Riley<br />
8. Boat-Woman-Song - Holger Czukay<br />
9. Music Promenade - Luc Ferrari<br />
10. Vibrations Composees: Rosace 3 - Francois Bayle<br />
11. Mutations - Jean-Claude Risset<br />
12. Hibiki-Hana-Ma - Iannis Xenakis<br />
13. Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals: Drift Study '31/69 c.... - La Monte Young<br />
Disc: 3<br />
1. He Destroyed Her Image - Charles Dodge<br />
2. Six Fants On A Poem By Thomas Campion: Her Song - Paul Lansky<br />
3. Appalachian Grove - Laurie Spiegel<br />
4. En Phase/Hors Phase - Bernard Parmegiani<br />
5. On The Other Ocean - David Behrman<br />
6. Stria - John Chowning<br />
7. Living Sound, Patent Pending Music For Sound-Joined Rooms Series - Maryanne Amacher<br />
8. Automatic Writing - Robert Ashley<br />
9. Canti Illuminati - Alvin Curran<br />
10. Music On A Long Thin Wire - Alvin Lucier<br />
11. Melange - Klaus Schulze<br />
12. Before And After Charm (La Notte) - Jon Hassell<br />
13. Unfamiliar Wind (Leeks Hills) - Brian EnoIndustrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com1tag:blogger.com,1999:blog-8229422.post-1140057951874907892010-08-15T11:11:00.000-07:002010-08-15T13:10:23.055-07:00DRONES- from Stockhausen to La Monte Young to Nurse With Wound...<a imageanchor="1" target="_blank" href="http://www.amazon.com/Other-Planets-Music-Karlheinz-Stockhausen/dp/0810853566?ie=UTF8&tag=industrialmus-20&link_code=bil&camp=213689&creative=392969"><img alt="Other Planets: The Music of Karlheinz Stockhausen" src="http://ws.amazon.com/widgets/q?MarketPlace=US&ServiceVersion=20070822&ID=AsinImage&WS=1&Format=_SL160_&ASIN=0810853566&tag=industrialmus-20" /></a><img src="http://www.assoc-amazon.com/e/ir?t=industrialmus-20&l=bil&camp=213689&creative=392969&o=1&a=0810853566" width="1" height="1" border="0" alt="" style="border:none !important; margin:0px !important; padding: 0px !important" /><br />
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<b><span style="font-family: arial;">Theatres of Eternal Music</span></b><br />
<div align="justify" class="style3"><span style="font-family: arial;">Say the word drone and, depending on your conversation partner, any number of possible responses might emerge: an entomologist's exegesis on the male honeybee's mating practices, the military expert's account of Unmanned Aerial Vehicles, perhaps a musicologist's analysis of the drone-like features of the bagpipe, bluegrass banjo, and didgeridoo. Within electronic music circles, the word might elicit historical anecdotes populated by dramatis personae like <span style="font-weight: bold;">La Monte Young</span> and Terry Riley, plus nostalgic recollections colored by strobe-lit chanters and tambura players. Far from being an esoteric phenomenon of the ‘60s, recent works by Greg Davis, Deathprod, Robert Henke, Minit, and Growing suggest that the drone is still very much alive and, if anything, thriving. While there appears to be a resurgence of interest, it's also possible we're merely witnessing new additions to a genre that has never really gone out of fashion. </span></div><div align="justify" class="style3"><span style="font-family: arial;">What constitutes a drone? To begin, sustained intonation that establishes a harmonic center for its accompanying elements; the drone might utilize a single note repeated indefinitely or, at the opposite extreme, all of the scale's notes spread across numerous octaves. Other key aspects include extended duration, modular repetition, and a focus on overtones. Influenced by the music of India, Indonesia, and Africa, the drone form's oft-used alternate tuning (Just Intonation) and vertical concentration challenges the tacit supremacy of a Western tradition that prioritizes horizontal development.</span></div><div align="justify" class="style3"><span style="font-family: arial;">Young and Riley are regularly lumped in with Philip Glass and Steve Reich in discussions of minimalism yet the two pairs embody fundamentally different subsets. According to composer and violinist Tony Conrad, minimal music (of the Young type) involves tonality, repeating modes, and long pieces with middles but no endings or beginnings. Bereft of conventional development, the trance-inducing drone with its extended tones and layered pitches does change but glacially. In lieu of lengthy tones, the early works of Reich and Glass are founded on modal patterns that slowly shift throughout prolonged repetition to a similarly hypnotic effect. One might differentiate, then, between “drone minimalism,” with its tonal emphasis, and “pattern minimalism,” with its rhythmic pulsations. Of course, such theoretical distinctions prove less straightforward in practice. Reich's <i>Four Organs</i>, for example, straddles both drone and pattern variations since its organs repeat the same chord progression for 24 minutes with varying lengths of silence separating the chords. His voice pieces <i>Come Out </i>and <i>It's Gonna Rain </i>serve as better examples given their minimal means, yet here, too, repeating patterns morph into drone-like episodes.</span></div><div align="justify" class="style3"><span style="font-family: arial;">Ambient music and drone genres also overlap, Greg Davis's <i>Somnia </i>drone “Clouds As Edges (version 3 edit)” a case in point. Certainly a piece can satisfy the drone criteria yet be ambient if it also meets Brian Eno's criterion that an ambient work should be “as ignorable as it is interesting” (<i>Music for Airports</i>, 1978). Davis says, “Aside from the more placid, meditative kind of music we often associate with drones, I enjoy that intense style, too, where it's so loud and overwhelming it's completely immersive.” </span><span style="font-family: arial;">Davis might just as easily be alluding here to the volcanic roar of Young's Theatre of Eternal Music ensemble, Lou Reed's 1975 scabrous feedback fest <i>Metal Machine Music</i>, or the droning riffage of Sunn 0))) and Growing.</span></div><div align="justify" class="style3"><b><span style="font-family: arial;">Dream Syndicates</span></b></div><div align="justify" class="style3"><span style="font-family: arial;">Each day, multitudes flock past the unprepossessing entrance to the Dream House, unaware of its musical significance. Located at 275 Church Street in Manhattan's TriBeCa district where La Monte Young and Marian Zazeela moved in 1963, the Dream House functions as an ongoing exhibition and performing space for Young's music and Zazeela's light installations. The loft's white interiors are bathed in Zazeela's colored lights and large speakers emit the ongoing frequencies of Young's drones; sounds resonate more loudly or softly depending on one's position in the room. (Another Dream House was operated from 1979 to 1985 at 6 Harrison Street, a six-story building where Young and Zazeela lived, though they kept the Church Street loft as a legal address.)</span></div><div align="justify" class="style3"><span style="font-family: arial;">No history of drone music is complete without Young, even if voluminous documentation of the artist and his work is available elsewhere. Born in 1935 in a small log cabin in Bern, Idaho to a Mormon family and initially trained on saxophone (he even played with free jazz legend Eric Dolphy), Young discovered Anton Webern, Japanese gagaku, Indonesian gamelan, and Indian classical music upon his 1957 arrival at UCLA. Exposed to the ragas of </span><span style="font-family: arial;">Ali Akbar Kahn</span><span style="font-family: arial;">, Young developed a fascination for sustained tones and, with his 1958 landmark composition <i>Trio for Strings </i>(which eschews melody and pulse for static chords and sustained tones), arguably founded minimalism. A 1959 Darmstadt summer course with <span style="font-weight: bold;">Karlheinz Stockhausen </span>exposed Young to the radical philosophies of <span style="font-weight: bold;">John Cage</span>. (Young's <i>Piano Piece for David Tudor #1</i>, in which the performer offers a bale of hay to his piano to eat and a bucket of water to drink, clearly shows Cage's influence.) Young then moved to New York to study electronic music with Cage and briefly became involved in the <b>Dada</b>-influenced <b>Fluxus</b> movement. </span></div><div align="justify" class="style3"><span style="font-family: arial;">Of course, Young wasn't the first to use the drone—it's fundamental to Indian music—but he can be credited with reviving it within Western classical music. Based entirely on four alternate-tuned pitches, “The Second Dream of the High-Tension Line Stepdown Transformer” from <i>The Four Dreams of China </i>(1962, with a later eight-trumpet version issued on Gramavision in 1991) was his first drone piece in Just Intonation (which substitutes the equal temperament pitches of conventional Western music for tuning that Pythagoras quantified in ancient Greece and is used in many non-Western musics and by composers like Pauline Oliveros and <b>Glenn Branca</b>). With sustained overtones that eventually destabilize the listener's grasp of space and time, its harmonies evoke the electronic hums of hydro wires and power transformers that transfixed Young as a boy.</span></div><div align="justify" class="style3"><span style="font-family: arial;">By 1962, Young was performing with a small ensemble that was eventually christened the <span style="font-weight: bold;">Theatre of Eternal Music</span> in 1965; aside from the voices of Young and Zazeela, the group variously included violinist Tony Conrad, violist <b>John Cale</b>, hand drummer <span style="font-weight: bold;">Angus MacLise</span>, trumpeter Jon Hassell, violist David Rosenboom, organist-vocalist Terry Riley, and others. Dedicated to realizing Young's <i>The Tortoise, His Dreams and Journeys </i>(an ongoing composition that Young initiated in 1964), the music conflated elements of improvisatory jazz, minimalism, Indian music, and psychedelia into one, with the group's ritualistic (and ferociously loud) bowed-strings-voice improvisations lasting for hours. (Around 1965, Young attached a microphone to his turtle's aquarium motor in order to tune his ensemble to its hum, hence the work's title). Later variations of the Eternal ensemble included the Theatre of Eternal Music Brass Ensemble (led by trumpeter Ben Neill) and The Theatre of Eternal Music String Ensemble (led by cellist Charles Curtis). Young's landmark composition remains <i>The Well-Tuned Piano </i>(the title parodying Bach's <i>Well-Tempered Clavier</i>), a raga-like, multi-tonal (and ongoing) work begun in 1964 and performed in 1981 on a Bösendorfer Imperial grand piano, a performance issued initially on vinyl and then as a five-disc set on Gramavision; that five-hour version is eclipsed by a 1987 performance issued on DVD that better matches the work's six uninterrupted hours (and includes the enhancing spectacle of Zazeela's light sculpture).</span></div><div align="justify" class="style3"><span style="font-family: arial;">Of course, the Theatre of Eternal Music's other members established themselves beyond their association with Young, Terry Riley a case in point. Arguably his most important work, Riley's revolutionary 1964 In C comprises 53 melodic modules that can be repeated as often as desired by an undetermined number of instruments with the piece formally ending once all players reach module 53. In 1997, Conrad issued the four-disc set Early Minimalism: Volume 1, which includes the scorching sustain of 1964's Four Violins plus three 1990's extensions, each album given the name of a month in 1965. (The infamous falling-out between Young and Conrad is well-documented but merits brief mention as it helps clarify why relatively few of the Theatre of Eternal Music's recordings have been issued. Even though many group sessions were recorded, Young has refused to release them despite the protestations of his former colleagues. The discord is rooted in Young's assertion that he is the sole composer of the original performances; the others contend they are co-composers of what were collectively improvised sessions. A recording of the ensemble was issued in 2000, the 31-minute <a href="http://www.amazon.com/exec/obidos/redirect?link_code=as2&path=ASIN/B00004SR1R&tag=industrialmus-20&camp=1789&creative=9325">Inside the Dream Syndicate, Vol. I: Day of Niagara</a><img alt="" border="0" height="1" src="http://www.assoc-amazon.com/e/ir?t=industrialmus-20&l=as2&o=1&a=B00004SR1R" style="border: medium none ! important; margin: 0px ! important;" width="1" />and, while the recording's sound quality is abysmal, the document does capture the ensemble's glorious roar and its attempt to “freeze” sound.)</span></div><div align="justify" class="style3">Bridging the Gap</div><div align="justify" class="style3" style="font-family: arial;"><span style="font-weight: bold;">John Cale</span> brought his viola but more importantly Young's concepts to the Velvet Underground before moving on to a storied solo career of great recordings (Fear, Slow Dazzle) and collaborations with Eno (Wrong Way Up) and former VU partner Lou Reed (Songs for Drella). Rather perversely, Reed himself kept the drone flame alive with the 1975 release of Metal Machine Music, two albums of seething noise that outraged his Transformer fans and found them returning to the record stores in droves demanding refunds. (The Loop Orchestra's John Blades says, “I clearly remember it turning up in all the second-hand record shops in Sydney just after it was released” while Greg Davis recalls it playing once in a Chicago bookstore he was working in at the time, much to the bewilderment of the store's customers, one presumes.) The ongoing debate over the work's legitimacy was re-ignited in Berlin, 2002 when the German New Music group Zeitkratzer performed the piece live, with Reed joining in on guitar.</div><div align="justify" class="style3"><span style="font-family: arial;">Drones awareness spread to prog- and art-rock aficionados with the 1972 release of <span style="font-weight: bold;">Tangerine Dream</span>'s double-album <i>Zeit </i>(arguably supplanted by 1974's seminal <i>Phaedra</i>) and the 1973 release of <i>No Pussyfooting</i>, comprised of two drones generated by </span><a href="http://www.blogger.com/post-edit.g?blogID=8229422&postID=114005795187490789">Robert Fripp's guitar and Brian Eno's loops and synths</a>, while krautrock fans discovered Tony Conrad through his Outside the Dream Syndicate collaboration with Faust in 1974 (reissued with a bonus track on Table Of The Elements in 1993). The drones phenomenon held steady throughout the ‘80s and ‘90s due to influential works by the Hafler Trio, :zoviet*france, Nurse With Wound, Phill Niblock, Glenn Branca, Charlemagne Palestine, Earth, Keiji Haino, and others. During the ‘90s, the barren dronescapes of Thomas Köner's gong-generated Nunatak Gongamour and Teimo releases offered a diametric contrast to the comparatively warmer ambient-drone-techno hybrids Zauberberg, Königsforst, and Pop created by Wolfgang Voigt under his Gas guise. </div><div align="justify" class="style3"><span style="font-family: arial;">In the early 1980s, Australian radio programmers John Blades and Richard Fielding started experimenting with tape machines by cutting, rearranging, and rejoining pre-recorded tape to generate loops. Developing their ideas further as the Loop Orchestra, the pair made its 1983 debut with four reel-to-reel machines playing slowly evolving constructions. Far from static, the group's loops ebb and flow hypnotically. “I believe our music is only drone-like due to the nature of tape loops,” says Blades. “There is a slow progress and evolution through the duration of a piece, but I prefer the term ambient as this is the effect created by most of our music. After all, the so-called ambient music of Eno (<i>Discreet Music</i>, <i>Music for Airports</i>) is really very dronal.”</span></div><div align="justify" class="style3"><span style="font-family: arial;">In spite of technological advances, the four compositions on 2004's <i>Not Overtly Orchestral </i>were generated using those same reel-to-reel machines. Why do so when newer technologies are available? According to Blades, “We have a great affection for the technology of reel-to-reel machines, a technology which has been largely left behind by the digital age. The machines are beautiful pieces of sculpture; the loops are simple, very organic, and very human. The digital technology is purely a black box and too easy and cold. Also, tape loops and reel-to-reel tape machines are historically significant as the history of electronic music dates back to musique concrete.”</span></div><div align="justify" class="style3"><span style="font-family: arial;">“We're dedicated to creating a body of work that cannot be instantly identified with any past or current movement or style or era,” adds Fielding, “a music that has no patina of contemporariness, no obvious technological or technical development, no mastery of technique, and no mature style.”</span></div><div align="justify" class="style3"><span style="font-family: arial;">Blades says, “We generally try to keep the music as free of associative and identifiable elements as possible. Our first record (released in 1991) included a 20-minute piece called “Suspense” created from tape loops made from suspense and horror movie music from the 1940s to the 1980s (films like <i>Creature From the Black Lagoon</i>); in this case identifiability was part of the intended effect. On the other hand, “Bride” was created using loops from the soundtrack to the 1936 film <i>Bride of Frankenstein</i>; with all the loops layered and the music fragmented, the original score became unrecognizable. It depends on the theme, then, whether loops remain identifiable or not.”</span></div><div align="justify" class="style3"><b><span style="font-family: arial;">New Practitioners</span></b></div><div align="justify" class="style3"><span style="font-family: arial;">Asked about current drone artists, Blades says, “At the moment, the most significant artist creating beautiful, intricate layerings of electronic sound is Minit.” The group, formed by Jasmine Guffond and Torben Tilly in 1997, uses sampling, digital processing, and electro-acoustic techniques to create meditative soundscapes, four of which are heard to fine effect on the recent <i>Now Right Here</i>. The epic title track is the most impressive, a 20-minute drone whose shimmering tones grow into a dense mass until a bass line appears, anchoring the piece magnificently. While the piece is largely abstract, the timbre and color of its French horns remain readily identifiable. “The use of French horn was instrumental in the process of developing the kind of ecstatic build-up that we wanted,” says Tilly. “Klara Logan played the horn to an already existing bed of sound, and it was her playing that in turn modulated the development of the piece as it leads up to the introduction of the bass line.”</span></div><div align="justify" class="style3"><span style="font-family: arial;">Asked to describe Minit's sound, Tilley says, “When Jasmine and I began the Minit project around 1997, our music was (and to a large extent still is) built almost entirely out of looped samples. Over the last five years, we've attempted to make the loop less obvious, more intricate, and to produce a denser, richer texture, which is perhaps less electronic sounding. The drone works well as a kind of stable firmament under which details can be inscribed and transformations can occur.</span></div><div align="justify" class="style3"><span style="font-family: arial;">“I feel like we are developing our own kind of spectral music, spectral in the sense of paying attention to all the minute details of color and grain within a particular recorded sound. So in a way for us the 'drone' just naturally comes out of this approach, as time and rhythm are sublimated by tone and color.”</span></div><div align="justify" class="style3"><span style="font-family: arial;">Arriving on the heels of Curling Pond Woods' campfire hymns and Beach Boys homages, Davis' Somnia may have caught some listeners by surprise. In fact, the album was created in tandem with his Carpark albums, even if the timing of the releases makes it appear otherwise. (An early version of “Clouds as Edges” was issued as a six-minute single in 2001.) Somnia brings to fruition Davis 's long-standing passion for the genre, an interest that began as early as high school when he discovered Indian classical music, modal jazz, Aphex Twin's ambient works, Reich, and Eno.</span></div><div align="justify" class="style3"><span style="font-family: arial;">Davis bases each <i>Somnia </i>piece on a single instrument yet alters its sound so completely via computer that the result sometimes bears little resemblance to its origins. Speaking between tour stops in Montreal and Boston, he says, “I did constantly ask myself,'‘How far do I take this process?' I was trying to reach the point where the instruments' sound qualities were radically transformed but not beyond the point where you could no longer recognize the original instrument. Its tone color, I believe, is still apparent in the end.” His audacious instrument choices included a bowed psaltery for “Archer” and a toy harmonica for “Diaphanous (edit).”</span></div><div align="justify" class="style3"><span style="font-family: arial;">Describing his production approach to “Archer,” Davis says, “I wanted to create a piece that shimmered with rich overtones, so I sampled myself playing every diatonic note on the bowed psaltery, and then used a MAX/MSP patch to generate a drone, which I then processed towards its final form.” Even more arresting are the whistles and moans of “Mirages (version 2)” that were generated from a Schaaf punch-card music box (which generates sounds when holes are punched out of staffs displayed on cardboard strips and then fed into the music box). “Using music box samples, I wanted to transform the stereotypical associations we have with music boxes,” he says, “and using spectral graphical processing and resynthesis techniques, ended up creating a haunted quality.”</span></div><div align="justify" class="style3"><span style="font-family: arial;"><i>Somnia </i>not only includes long tracks like the 22-minute “Campestral (version 2)” but also short pieces like the 4-minute “Furnace.” “I struggled a lot with song duration and album length,” Davis admits. “‘Campestral' had a long melody to begin with, and with time-stretching, transposing, and layering, it ended up being a naturally longer piece. At the same time, I liked the idea of incorporating shorter pieces to show that an immersive and effective drone can still be created in four minutes.” His interest in the project extends to the stage as well. “Each night I've been creating a new piece using real-time processing on one of the instruments I've brought on tour (bells, glockenspiel, harmonica, melodica, stylophone, Egyptian double reed flute, gongs, farfisa, autoharp, guitar, et cetera),” he says. “Sometimes I'll also incorporate field recordings and improvisations into the live tapestry.”</span></div><div align="justify" class="style3"><span style="font-family: arial;">Robert Henke (a.k.a. Monolake) shares Davis ' enthusiasm for bringing drone material to the stage, although for him the ideal scenario for presenting <i>Signal to Noise </i>would be a multi-channel setup with the audience completely surrounded by sound. Even though the drone is most powerfully experienced live (as its duration isn't determined by album running time), the two slowly mutating works on <i>Signal to Noise </i>are definitely immersive. For the album's 32-minute title piece, Henke used a Yamaha SY77 to generate timbres he then filtered, pitch-shifted, and processed to create drifting, wave-like clusters, while static bursts and rumbles on the more programmatic “Studies for Thunder” were sculpted to mimic thunderstorms. Henke's interest in drones stems from a fascination with gradually evolving structures, even if their forms are different: “For me, a pulsating, repetitive club track, the music of Steve Reich, a Thomas Köner soundscape, or distant urban traffic noises are all equal sources of inspiration and delight.” </span></div><div align="justify" class="style3"><span style="font-family: arial;">While Davis 's <i>Arbor </i>and <i>Curling Pond Woods </i>are on Carpark, Chicago-based kranky seems the more fitting home for <i>Somnia </i>given the label's roster of drone-related artists like Stars of the Lid, Charalambides, and Growing. By the title alone, Growing's most recent album, <i>The Soul of the Rainbow and the Harmony of Light</i>, begs associations with Young and the psychedelicized ‘60s period, even if the title derives from an 1893 essay by Bainbridge Bishop on his 1877 color organ invention (a device capable of playing sound and corresponding light together or separately). While group members Kevin Doria (bass and guitar) and Joe Denardo (guitar) embrace the drone's primal power (the roar of “Anaheim II,” for example), their seething shards of guitar and waves of delay are loud but not dissonant or cacophonous; their “ambient doom” sound is rapturous, elemental in force and ethereal in effect. The album opens with “Onement,” an 18-minute epic of shuddering guitars, harmonium-like drones, and cymbal noise that eventually engulfs all other sounds. The harmonium sound reappears in the more incantatory “Epochal Reminiscence,” where crystalline tones appear alongside gargantuan guitar slabs.</span></div><div align="justify" class="style3"><span style="font-family: arial;">The group's interest in drones is evident on its 2003 debut <i>The Sky's Run Into The Sea </i>but that interest emerged long before. As a developing bass player, Doria gravitated towards artists like Sonic Youth, Earth, Glenn Branca, Young, Riley, and Pandit Pran Nath; likewise, Denardo was captivated by Earth's 1993 <i>Earth 2 special low frequency version </i>(Sub Pop) and he's “still wearing out the grooves on (Terry Riley's organ improvisation) <i>Persian Surgery Dervishes.</i>” In addition, he says, “It's always wonderful to see Sunn 0))) play, to feel its awesome power.” When asked about memorable drone-related experiences, Denardo cites a visit to the Dream House, and in doing so echoes Davis, who visited there with Keith Fullerton Whitman and David Grubbs.</span></div><div align="justify" class="style3"><b><span style="font-family: arial;">An Eternal Voice</span></b></div><div align="justify" class="style3"><span style="font-family: arial;">The sum total of artists working in drone-related genres is immense, as evidenced by an inquiry into the practitioners' favorites. In addition to Minit, Blades cites Brendan Walls and Scott Horscroft; Fielding's eclectic list includes Birchville Cat Motel, the Dead C, the Master Musicians of Joujouka, Harvest Music of Chad, Tuvan throat singing, Inuit women, and Sufi music. Tilley says, “I'm very interested in what Radian is doing, because the group is merging the sonic and spectral with the rhythmic and melodic.” Greg Davis cites the impact of Alvin Lucier's <i>Music on a Long Thin Wire </i>and <i>The Tamburas of Pandit Pran Nath </i>and mentions Rafael Toral, Fennesz, Hazard, Keith Fullerton Whitman, Growing, and more in a long list of favored contemporary drone artists.</span></div><div align="justify" class="style3"><span style="font-family: arial;">Given the fervent level of artistic enthusiasm for the genre, one wonders if there has been a surge of recent interest. Davis contends that there have always been practitioners even though current technologies allow drone music to be more easily produced, a sentiment shared by Henke and Denardo. “There have always been practitioners but, even more than the media deciding what to cover, I think the ‘listening public' is paying attention,” says Denardo. “In certain parts of the country, people consistently come to our shows, and Earth and Branca have never stopped doing this type of music.” Henke similarly notes the media's intermediary role as a factor: “If you are a music journalist and on your table are ten Eurotrance CDs and one drone record, which one will you remember?”</span></div><div align="justify" class="style3"><span style="font-family: arial;">“The resurgence of interest in drones goes hand-in-hand with a resurgence of interest in minimalism,” says Blades. “In recent years, there has been an increase in total listening, and drone listening requires total immersion in the sound environment. I also believe that, with the global atmosphere of violence and terrorism, meditative and total listening experiences are more highly regarded.” Blades cites artists like :zoviet*france, Hafler Trio, Nurse With Wound, Bernhard Gunter, Oren Ambarchi, and Phill Niblock as carrying on the drone tradition.</span></div><div align="justify" class="style3"><span style="font-family: arial;">Why does the drone have such enduring appeal? “Its music and sound environment is very minimal and pure, devoid of fashions or trends like glitch,” says Blades. Another factor is its vast spectrum of stylistic possibilities, that it can simultaneously accommodate the unearthly, funereal epics of Deathprod's <i>Morals and Dogma </i>and the stately beauty of Jóhann Jóhannsson's <i>Virðulegu forsetar</i>. Maybe its longevity is rooted in something more primal: Denardo says that the most inescapable drones (and those which keep us from any true silence) are the low pulses of our circulatory systems and the high hums of our nervous systems. Or perhaps, as Davis says, it's because “the drone is the eternal voice of the universe.”</span></div><div align="justify" class="style3"><b><span style="font-family: arial;">Further Reading :</span></b></div><div align="justify" class="style3"><span style="font-family: arial;"><i>Four Musical Minimalists </i>by Keith Potter (Cambridge University Press, 2002).<br />
<i>Minimalists </i>by K. Robert Schwartz (Phaidon, 1996).<br />
“Dream Encounters: La Monte Young meets Mark Webber,” <i>The Wire</i>, December 1998, issue 178.<br />
“Early Minimalism,” <i>The Wire</i>, April 2001, issue 206.<br />
“Inside The Dream Syndicate,” <i>The Wire</i>, April 2001, issue 206.</span></div><div align="justify" class="style3"><b><span style="font-family: arial;">Web info: </span></b></div><div align="justify" class="style3"><a href="http://www.autumnrecords.net/" target="_blank"><span style="font-family: arial;">Greg Davis</span></a><span style="font-family: arial;"><br />
</span><a href="http://www.kranky.net/" target="_blank"><span style="font-family: arial;">Growing</span></a><span style="font-family: arial;"><br />
</span><a href="http://www.monolake.de/" target="_blank"><span style="font-family: arial;">Robert Henke</span></a><span style="font-family: arial;"><br />
</span><a href="http://www.thelooporchestra.com/" target="_blank"><span style="font-family: arial;">Loop Orchestra<br />
</span></a><a href="http://www.sigmaeditions.com/sigma_minit.html" target="_blank"><span style="font-family: arial;">Minit</span></a></div><div align="justify" class="style3"><a href="http://www.kylegann.com/" target="_blank"><span style="font-family: arial;">Just Intonation/Kyle Gann</span></a><span style="font-family: arial;"><br />
</span><a href="http://melafoundation.org/lmy.htm" target="_blank"><span style="font-family: arial;">La Monte Young/MELA (Music Eternal Light Art) Foundation</span></a></div><div align="justify" class="style3"><b><span style="font-family: arial;">Further Listening:</span></b></div><div align="justify" class="style3"><span style="font-family: arial;">Greg Davis: <i>Somnia </i>(kranky)<br />
Growing: <i>The Soul of the Rainbow and the Harmony of Light </i>(kranky)<br />
Robert Henke: <i>Signal to Noise </i>(Imbalance)<br />
The Loop Orchestra: <i>Not Overtly Orchestral </i>(Quecksilber)<br />
Minit: <i>Now Right Here </i>(Staubgold)</span></div><div align="justify" class="style3"><span style="font-family: arial;">John Cale: </span><span style="font-family: arial;"><i>Day of Niagara: Inside The Dream Syndicate,<br />
Vol. I </i>(Table of the Elements)<br />
John Cale: <i>Dream Interpretation: Inside The Dream Syndicate, Vol. II </i>(Table of the Elements)<br />
John Cale: </span><span style="font-family: arial;"><i>Stainless Gamelan: Inside The Dream Syndicate,<br />
Vol. III </i>(Table of the Elements)<br />
John Cale: <i>Sun Blindness Music --> <a href="http://www.amazon.com/exec/obidos/redirect?link_code=as2&path=ASIN/B00005B4EK&tag=industrialmus-20&camp=1789&creative=9325">New York in the 1960s, Vol. 1: Sun Blindness Music</a><img alt="" border="0" height="1" src="http://www.assoc-amazon.com/e/ir?t=industrialmus-20&l=as2&o=1&a=B00005B4EK" style="border: medium none ! important; margin: 0px ! important;" width="1" /></i> <br />
Tony Conrad: <i>Early Minimalism, Vol. 1 </i>(Table of the Elements)<br />
Tony Conrad (with Faust): </span><span style="font-family: arial;"><i>Outside The Dream Syndicate:<br />
30th Anniversary Ed. </i>(Table of the Elements)<br />
Terry Riley: <i>In C </i>(Sony)<br />
Terry Riley: <i>In C: 25 th Anniversary Concert </i>(New Albion)<br />
Terry Riley: <i>Persian Surgery Dervishes </i>(NewTone)<br />
La Monte Young: <i>The Melodic Version of The Second Dream of The High-Tension Line Stepdown Transformer </i>from </span><i><br />
<span style="font-family: arial;">The Four Dreams of China </span></i><span style="font-family: arial;">(Gramavision)<br />
La Monte Young: <i>The Tamburas of Pandit Pran Nath </i><br />
(Just Dreams)<br />
La Monte Young:<i> Theatre Of Eternal Music </i>(Shandar)<br />
La Monte Young: <i>The Well-Tuned Piano </i>(Gramavision) </span></div><div align="justify" class="style3"><b><span style="font-family: arial;">Related Listening: </span></b></div><div align="justify" class="style3"><span style="font-family: arial;">The sheer number of drones-related recordings verges on astronomical but a representative list might include: </span></div><div align="justify"><span style="font-family: arial;">Glenn Branca: <i>Symphony No. 5 </i>(Altavistic)<br />
Charalambides: <i>Joy Shapes </i>(kranky)<br />
Rhys Chatham: </span><span style="font-family: arial;"><i>An Angel Moves Too Fast to See,<br />
Selected Works: 1971-1989 </i>(Table of the Elements)<br />
Deathprod: <i>Morals and Dogma </i>(Rune Grammofon)<br />
Stuart Dempster: <i>Underground Overlays from the Cistern Chapel </i>(New Albion )<br />
John Duncan: <i>Phantom Broadcast </i>(Allquestions)<br />
Earth: <i>Earth 2 special low frequency version </i>(Sub Pop)<br />
Faust: <i>Ravvivando </i>(Klangbad)<br />
Fripp and Eno: <i>No Pussyfooting </i>(Eeg)<br />
Fushitsusha: <i>The Wisdom Prepared </i>(Tokuma)<br />
Gas: <i>Zauberberg </i>(Mille Plateaux)<br />
Philip Glass: <i>Music in Twelve Parts </i>(Nonesuch)<br />
Keiji Haino: <i>So, Black Is Myself </i>(Alien8)<br />
Harmony Rockets: <i>Paralyzed Mind of the Archangel Void </i><br />
(Big Cat)<br />
Ryoji Ikeda: <i>Matrix </i>(Touch)<br />
Jóhann Jóhannsson: <i>Virðulegu forsetar </i>(Touch)<br />
Thomas Köner: <i>Nunatak Gongamour </i>(Barooni)<br />
Alan Lamb: <i>Primal Image </i>(Dorobo)<br />
Jean-François Laporte: <i>Mantra </i>(Metamkine)<br />
Alvin Lucier: <i>Music On A Long Thin Wire </i>(Lovely Music)<br />
Roy Montgomery: <i>Scenes From The South Island </i>(Drunken Fish)<br />
Phill Niblock: <i>Young Person's Guide to Phill Niblock </i>(Blast First)<br />
Nurse With Wound: <i>Soliloquy For Lilith </i>(Idle Hole)<br />
Pauline Oliveros: <i>Deep Listening </i>(New Albion)<br />
Jim O'Rourke: <i>Happy Days </i>(Revenant)<br />
Paul Panhuysen: <i>Partitas For Long Strings </i>(XI Records)<br />
Charlemagne Palestine: <i>Schlingen-Blangen </i>(New World)<br />
Pelt: <i>Empty Bell Ringing in the Sky </i>(Vhf)<br />
Folke Rabe: <i>What?? </i>(Dexter's Cigar)<br />
Steve Reich: <i>Early Works </i>(Nonesuch, includes <i>Come Out </i><br />
and <i>It's Gonna Rain </i>)<br />
Steve Reich: <i>Four Organs/Phase Patterns </i>(NewTone)<br />
Janek Schaefer: <i>Above Buildings </i>(Fat Cat)<br />
Stars of the Lid: <i>The Tired Sounds of </i>(kranky)<br />
Sunn 0))): <i>Flight Of The Behemoth </i>(Southern Lord)<br />
Sunroof!: <i>Bliss </i>(Vhf)<br />
Tangerine Dream: <i>Zeit </i>(Sanctuary/Castle)<br />
Rafael Toral: <i>Violence of Discovery and Calm of Acceptance </i>(Touch)<br />
David Tudor: <i>Rain Forest </i>(Mode Records)<br />
Vibracathedral Orchestra: <i>Dabbling With Gravity & Who You Are </i>(Vhf)<br />
Windy & Carl: <i>Consciousness </i>(kranky)<br />
Richard Youngs: <i>Advent </i>(Jagjaguwar)<br />
:zoviet* france: <i>The Decriminalisation Of Country Music </i>(Tramway)<br />
</span></div><span class="style3"></span><br />
<div style="text-align: left;"><span class="style3" style="font-family: arial; font-style: italic;">February 2005 </span><span class="style3"><br />
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<div align="justify"><span class="style3"><span style="font-family: arial; font-style: italic;"><br />
</span></span></div><span class="style3"><span style="font-family: arial; font-style: italic;"></span></span><br />
<div style="text-align: left;"><iframe align="right" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=industrialmus-20&o=1&p=8&l=bpl&asins=B000BDGVX6&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe><br />
<br />
<br />
<span class="style3" style="font-size: 85%;"><span style="font-style: italic;"><span style="font-family: arial;">~Re-posted without permission, from an article found on Textura.org: </span></span></span><a href="http://www.textura.org/archivespages/abcd/dronesarticle.htm" style="font-style: italic;"><span style="font-family: arial;">http://www.textura.org/archivespages/abcd/dronesarticle.htm</span></a><span style="font-family: verdana;"><span style="font-family: arial;"><br />
</span></span></div><span class="style3"></span>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com0tag:blogger.com,1999:blog-8229422.post-58311343590730036982010-08-15T11:04:00.000-07:002010-08-15T12:41:28.815-07:00Industrial Music (A Condensed History)Read the <a href="http://forums.somethingawful.com/showthread.php?threadid=3337108"">full post by [gay til death]</a> on Industrial Music For Industrial People - The Something Awful Forums...<br />
<br />
<br />
<br />
"...Industrial music is a widely varied style of music which today doesn't really have a common thread other than it sounds 'dark', originally it was experimental, confrontational, abrasive, and vulgar. Started in the late 60s and early 70s by radical 'post-hippie' artists in England (<b>COUM Transmissions</b>, later becoming <b>Throbbing Gristle</b>) and San Francisco (<b>Monte Cazazza</b>, who collaborated with Throbbing Gristle and it's members for many years)), it spread through out the UK and Europe without making a huge impact in the US until the 80s (save for a few artists and mainly in San Francisco with Monte Cazazza, who coined the term Industrial Music, and Boyd Rice).<br />
<br />
In the late 60s there was COUM Transmissions, a radical artist collective. The two most important members were <b>Genesis P-Orridge</b> and <b>Cosey Fanny Tutti</b>. These two along with <b>Peter Christopherson (aka "Sleazy"</b>, and <b>Chris Carter</b> they made up the musical aspect of COUM Transmissions. Eventually COUM became Throbbing Gristle. Every Throbbing Gristle show was recorded and eventually released on cassette on their label Industrial Records. These dudes had a huge impact on the experimental music scene in the UK, US and Europe. Like minded individuals and copy cats popped up and a scene was born.<br />
<br />
For the next 30 years industrial expanded and evolved (or devolved in some cases), ranging from pop music masquerading as something 'dark' or 'sinister', to some of the most vulgar and abrasive music out there. After Throbbing Gristle broke up and went their separate ways, many said Industrial had died, and thus retroactively we call anything after the TG break up post-industrial (I have to say I don't like this term, it stinks of something made up on Wikipedia or some forum 20 years after the fact).<br />
<br />
So! From this point we have a huge amount of music to explore, since dozens of sub-genres have sprung up since TG's last performance. Most notably we have neo-folk, power electronics, electro-industrial, EBM, dark ambient, death industrial, rhythmic noise, darkwave, and minimal wave. This isn't inclusive at all, and a few are debatable, but genre semantics is for nerds.<br />
<br />
<br />
To get you all started, here are some <b>important releases</b> with a lil blurb about them.<br />
<br />
<br />
<b>70s:</b><br />
Throbbing Gristle - 20 Jazz Funk Greats<br />
Probably their most accessible, if you can call it that. After seven years of chaotic improvised life performances their sound by this point had been channeled and was more 'musical'. Closest thing to this really is Kraftwerk, especially Autobahn, but maybe because both those albums came into my life at the same time.<br />
<br />
Throbbing Gristle - Mission of Dead Souls<br />
Their last live performance, historically important.<br />
<br />
Throbbing Gristle - Heathen Earth<br />
My favorite release by them probably, I believe it may be a bootleg but I'm not sure.<br />
<br />
Cabaret Voltaire - Extended Play<br />
One of their earlier releases, cold, minimal, lots of weird home made sounds and cut up tape loops. They would become more musical as they went on, by the mid 80s they had become synth pop (don't be put off, The Crackdown, their first synthpop release is amazing) and by the 90s were making IDM. Each one of their releases up to Code are great.<br />
<br />
Cabaret Voltaire - The Mix-Up<br />
One of the best industrial full lengths of the era<br />
<br />
SPK - Factory/Retard/Slogun 7'<br />
The best of their early singles. Before moving into less musical territory (and way before the electro rap single), they were essentially a post punk band, but jesus christ are they harsh here. This thing is ridiculously ahead of its time.<br />
<br />
Come - Rampton<br />
Mainly important due to its members and the label Come Org that was started to put these out. Included William Bennett (of Whitehouse), Daniel Miller (of the Normal, and founder of Mute Records), and JG Thirlwell (of Foetus). Comparable to the Residents I guess, weird rock music deconstructed.<br />
<br />
<br />
<br />
<b>80s:</b><br />
christ there is so much here I'll just give a select few, most importantly the former members of TGs new pursuits.<br />
<br />
Psychic TV - Force the Hand of Chance<br />
After TG broke up Genesis P-Orrdige and Sleazy came together with Alex Fergusson of Alternative TV and some other people and formed the band/cult/art collective/whatever Temple ov Thee Psychic Youth and the band Psychic TV. This release is one of my all time favorite albums, mixing straight forward pop songs (like really poppy, string sections and lots of pizzicato) and psychedelic industrial, this is one of the more bizarre albums I've heard. I can't imagine buying this in 1982 after only knowing Genesis from his work in Throbbing Gristle.<br />
<br />
Chris & Cosey - Techno Primitiv<br />
Chris Carter and Cosey Fanny Tutti were the other half of TG, their secret relationship being partly responsible for the breakup in the first place. Minimal synth pop, with some of Cosey's cornet playing shown off! Their first 3 or 4 releases are all I've explored, so I can't give you a definite rec here.<br />
<br />
Coil - Horse Rotovator<br />
Made up of Sleazy and a Throbbing Gristle groupie, Jhonn Balance, and formed while both were in Psychic TV. Horse Rotovator is their best 80s album, but their first three full lengths, Scatology, Horse Rotovator, and Loves Secret Domain are all excellent. Paussolini's Death (Ostia) is the best track here.<br />
<br />
<br />
<br />
There are so many albums that I could recommend from here it would take days to complete this post. So lets start the discussion! Lets avoid the NIN and KMFDM and Rammstein chat though, looking to expand people's horizon here or just circle jerk about your favorite MB tape<br />
<br />
<br />
<br />
Some youtube links:<br />
<br />
an awkward Whitehouse performance<br />
http://www.youtube.com/watch?v=bRbWvLKWS1k<br />
<br />
the BEST Whitehouse track, well not best, but I'm really enjoying their output from the last few years<br />
http://www.youtube.com/watch?v=EGNKgah948s<br />
<br />
probably the most seen Throbbing Gristle video<br />
http://www.youtube.com/watch?v=Y8klW9trVTQ<br />
<br />
SPK - Slogun, amazingly ahead of its time<br />
http://www.youtube.com/watch?v=OZWmYEUoweg<br />
<br />
Cabaret Voltaire - Do The Mussolini (Head kick)<br />
http://www.youtube.com/watch?v=hxsYrfKf_pc<br />
<br />
DAF - Tanz Der Mussolini, early EBM<br />
http://www.youtube.com/watch?v=XwAJXV070OY<br />
<br />
Laibach - Geburt Einer Nation, a Queen cover I believe, classical Martial Indsutrial<br />
http://www.youtube.com/watch?v=1YE_j0xIsJA<br />
<br />
Les Joyaux De La Princesse, excellent group, combining ambient, martial industrial, marching songs, french pop from the 40s and 30s into a a great atmosphere. mostly focusing on the Nazi occupation of France<br />
http://www.youtube.com/watch?v=3pqNK4pQbVY ..."<br />
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** <a href="http://forums.somethingawful.com/showthread.php?threadid=3337108">[click here]</a> to read or add to the whole thread...Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com0tag:blogger.com,1999:blog-8229422.post-38492266834491894372010-08-09T12:34:00.000-07:002010-08-09T12:34:49.432-07:00REVIEW: BOYD RICE (NON), w/ Death In June, Blood Axis, Anton Lavey<a href="http://uglyradio.wordpress.com/category/industrial/">Industrial « :::KILL UGLY RADIO:::</a>: "h1<br />Boyd Rice<br />February 14, 2007<br /><br />Music, Martinis And Misanthropy<br />Tesco<br /><br />1990-mmm.jpg<br /><br />Bad boy Boyd Rice as Rod McKuen with anti-social personality disorder. Frankly, it’s hard to take Rice’s schtick at face value. If you don’t, you can both enjoy his music and have a laugh. The seething-with-hatred People shouldn’t be listened to at work on a Monday morning. I’m warning you.<br /><br />Other highlights include Disneyland Can Wait and the best-ever song by Lee Hazelwood I’d Rather Be Your Enemy, rendered all the more frightening when sung by a pleasant looking man who happens to dress like an occult SS officer.<br />Some other touchstones on this album are Anton laVey, Heraclitus, Ragnar Redbeard and the Carpenters. This is also a meeting of the Death In June/Sol Invictus/Blood Axis glee-club (Douglas P, Tony Wakeford, Michael Moynihan), plus Rose McDowall."Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com0tag:blogger.com,1999:blog-8229422.post-81831394123761116502010-05-14T07:34:00.000-07:002010-05-14T08:22:08.312-07:00throbbing gristle - disciplineLive at Kezar Pavilion in San Francisco,5-29-1981<br />
<span style="color: white; font-size: large;"><b><br />
</b></span><object height="344" style="background-image: url("http://i2.ytimg.com/vi/Y8klW9trVTQ/hqdefault.jpg");" width="425"><param name="movie" value="http://www.youtube.com/v/Y8klW9trVTQ&hl=en_US&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/Y8klW9trVTQ&hl=en_US&fs=1" allowscriptaccess="never" allowfullscreen="true" wmode="transparent" type="application/x-shockwave-flash" width="425" height="344"></embed></object><br />
<span style="color: white; font-size: large;"><b>Kezar Pavilion,<br />
San Francisco, U.S.A., 29 May 1981</b></span><br />
<table border="0" cellpadding="5" cellspacing="5"><tbody>
<tr> <td align="center" valign="top"><img alt="Promotional leaflet" src="http://www.brainwashed.com/tg/live/images/kezar1.jpg" /><br />
<span style="font-size: x-small;"><i>Promotional leaflet</i></span></td> <td rowspan="2" valign="top"><b>THROBBING GRISTLE May 29 1980 San Francisco</b><br />
In my life I've been to many a concert but in many ways a live performance by the British group, Throbbing Gristle, is different. I got there early and noticed Genesis standing near the sound board that was situated in the middle of the hall, I was almost tempted to play the part of the rock fan and run over and fall at his feet but that's not what TG is all about so I carried on. In watching him talk with the sound people there seemed to be an air of relaxed authority about the man. As if he knew exactly who he was and where he's going. (So enough bull shit now to the show).<br />
Two S.F. punk bands opened and I was not impressed, to the extent that I put some cotton in my ears to dull the din. The only excitement was when the bassist broke his guitar and Genesis had to load him his.<br />
Finally they ended and the stage was cleared. The cotton came out of the eras and I was ready. The stage was sparse, considering TG's music, there were a few black cases that seemed to hold different boxes of knobs and dials. Cosey had a case set down in front of her which held five foot pedals, her guitar was an odd shape hardly and body to it and her horn connected to the control panel was present. Peter had a few more dials to play with plus some noise makers and four Sony cassette players that seemed to be connected to a switching network. Chris was a bit back stage and I couldn't see exactly what he had. Genesis had his bass guitar which seemed to have an extra pickup at the bottom of the strings and also had some foot pedals to play with.<br />
The music, well as usual it's hard to distinguish the new songs from the old. Devastating is probably the best word to describe the music. It overwhelms you, from the screams and blasts of 'Heathen Earth' to Genesis' soft voice echoing back and forth across the hall. I don't know what to make of Genesis, I guess you could say he puts 100% of himself behind his music and vocals but there's something special in the way he delivers a song in the way his emotions seem to flow from him and into the audience. The band as a whole were very comfortable on stage although Cosey looked a bit bored with it all. But towards the end she seemed to be playing more and I did see her smile once or twice.<br />
During one break between songs a member of the audience yelled out 'What A Day' and a nice little conversation ensued between Genesis and the audience. With Genesis saying he'd forgotten some of the words the audience pretty well sang the song themselves. But Peter had already started the tapes for the next song and 'What A Day' died before it started.<br />
You know for the life of me I can't remember anymore about the actual music. I can remember closing my eyes during one piece and floating off into the 4th dimension (no drugs here just TG). I can remember jumping up and down because of the intense beat, and I can remember screaming along with the rest of the audience as they yelled back at Genesis during 'Heathen Earth'. The show ended within the usual 60 minutes with a short version of 'Discipline'.<br />
At the end there was no screaming for more. I think the audience was too mesmerised by the last 60 minutes to really do anything. The group stayed on stage and started packing things up. Genesis talked with the audience for a while and I spoke with peter for a few minutes. As I said at the beginning it wasn't your average rock concert, it was more a happening, an event and one I'll remember for a long time to come.<br />
So in closing I'd like to thank Genesis P-Orridge, Cosey Fanni Tutti, Chris Carter and Peter Christopherson for coming to the States. God knows I doubt if they profited from this trip but I do hope they come back again. I don't worship them but I do feel they're above most musical groups and I hope they stick around for a few years yet.<br />
<div align="right"><span style="font-size: x-small;"><i>Alex Douglas</i></span></div><hr width="50%" />Throbbing Gristle have ceased to exist. They are now pursuing solo projects.<br />
<div align="right"><span style="font-size: x-small;"><i>Vox 7, August 1981</i></span></div></td> </tr>
<tr> <td valign="bottom"><span style="color: white;">Set included:</span><br />
<span style="color: white;"><i>Dead Souls<br />
Guts On The Floor<br />
Circle Of Animals<br />
Looking For The OTO<br />
Vision And Voice<br />
Funeral Rites<br />
Spirits Flying<br />
Persuasion U.S.A.<br />
The Process<br />
Discipline (Reprise)</i></span></td> </tr>
</tbody></table><img alt="Concert ticket" src="http://www.brainwashed.com/tg/live/images/kezar2.jpg" /><br />
<span style="font-size: x-small;"><i>Concert ticket</i></span>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com1tag:blogger.com,1999:blog-8229422.post-1134134665714325362007-10-28T04:44:00.000-07:002007-10-28T12:31:03.298-07:00"The Art of Noises " by Luigi Russolo :: Italian Futurist'The Art of Noises'<br />Luigi Russolo<br /><br />Dear Balilla Pratella, great Futurist composer,<br /><br />In Rome, in the Costanzi Theatre, packed to capacity, while I was listening to the orchestral performance of your overwhelming Futurist music, with my Futurist friends, Marinetti, Boccioni, Carrà, Balla, Soffici, Papini and Cavacchioli, a new art came into my mind which only you can create, the Art of Noises, the logical consequence of your marvelous innovations.<br /><br />Ancient life was all silence. In the nineteenth century, with the invention of the machine, Noise was born. Today, Noise triumphs and reigns supreme over the sensibility of men. For many centuries life went by in silence, or at most in muted tones. The strongest noises which interrupted this silence were not intense or prolonged or varied. If we overlook such exceptional movements as earthquakes, hurricanes, storms, avalanches and waterfalls, nature is silent.<br /><br />Amidst this dearth of noises, the first sounds that man drew from a pieced reed or streched string were regarded with amazement as new and marvelous things. Primitive races attributed sound to the gods; it was considered sacred and reserved for priests, who used it to enrich the mystery of their rites.<br /><br />And so was born the concept of sound as a thing in itself, distinct and independent of life, and the result was music, a fantastic world superimposed on the real one, an inviolatable and sacred world. It is easy to understand how such a concept of music resulted inevitable in the hindering of its progress by comparison with the other arts. The Greeks themselves, with their musical theories calculated mathematically by Pythagoras and according to which only a few consonant intervals could be used, limited the field of music considerably, rendering harmony, of which they were unaware, impossible.<br /><br />The Middle Ages, with the development and modification of the Greek tetrachordal system, with the Gregorian chant and popular songs, enriched the art of music, but continued to consider sound in its development in time, a restricted notion, but one which lasted many centuries, and which still can be found in the Flemish contrapuntalists' most complicated polyphonies.<br /><br />The chord did not exist, the development of the various parts was not subornated to the chord that these parts put together could produce; the conception of the parts was horizontal not vertical. The desire, search, and taste for a simultaneous union of different sounds, that is for the chord (complex sound), were gradually made manifest, passing from the consonant perfect chord with a few passing dissonances, to the complicated and persistent dissonances that characterize contemporary music.<br /><br />At first the art of music sought purity, limpidity and sweetness of sound. Then different sounds were amalgamated, care being taken, however, to caress the ear with gentle harmonies. Today music, as it becomes continually more complicated, strives to amalgamate the most dissonant, strange and harsh sounds. In this way we come ever closer to noise-sound.<br /><br />This musical evolution is paralleled by the multiplication of machines, which collaborate with man on every front. Not only in the roaring atmosphere of major cities, but in the country too, which until yesterday was totally silent, the machine today has created such a variety and rivalry of noises that pure sound, in its exiguity and monotony, no longer arouses any feeling.<br /><br />To excite and exalt our sensibilities, music developed towards the most complex polyphony and the maximum variety, seeking the most complicated successions of dissonant chords and vaguely preparing the creation of musical noise. This evolution towards "noise sound" was not possible before now. The ear of an eighteenth-century man could never have endured the discordant intensity of certain chords produced by our orchestras (whose members have trebled in number since then). To our ears, on the other hand, they sound pleasant, since our hearing has already been educated by modern life, so teeming with variegated noises. But our ears are not satisfied merely with this, and demand an abundance of acoustic emotions.<br /><br />On the other hand, musical sound is too limited in its qualitative variety of tones. The most complex orchestras boil down to four or five types of instrument, varying in timber: instruments played by bow or plucking, by blowing into metal or wood, and by percussion. And so modern music goes round in this small circle, struggling in vain to create new ranges of tones.<br /><br />This limited circle of pure sounds must be broken, and the infinite variety of "noise-sound" conquered.<br /><br />Besides, everyone will acknowledge that all musical sound carries with it a development of sensations that are already familiar and exhausted, and which predispose the listener to boredom in spite of the efforts of all the innovatory musicians. We Futurists have deeply loved and enjoyed the harmonies of the great masters. For many years Beethoven and Wagner shook our nerves and hearts. Now we are satiated and we find far more enjoyment in the combination of the noises of trams, backfiring motors, carriages and bawling crowds than in rehearsing, for example, the "Eroica" or the "Pastoral".<br /><br />We cannot see that enormous apparatus of force that the modern orchestra represents without feeling the most profound and total disillusion at the paltry acoustic results. Do you know of any sight more ridiculous than that of twenty men furiously bent on the redoubling the mewing of a violin? All this will naturally make the music-lovers scream, and will perhaps enliven the sleepy atmosphere of concert halls. Let us now, as Futurists, enter one of these hospitals for anaemic sounds. There: the first bar brings the boredom of familiarity to your ear and anticipates the boredom of the bar to follow. Let us relish, from bar to bar, two or three varieties of genuine boredom, waiting all the while for the extraordinary sensation that never comes.<br /><br />Meanwhile a repugnant mixture is concocted from monotonous sensations and the idiotic religious emotion of listeners buddhistically drunk with repeating for the nth time their more or less snobbish or second-hand ecstasy.<br /><br />Away! Let us break out since we cannot much longer restrain our desire to create finally a new musical reality, with a generous distribution of resonant slaps in the face, discarding violins, pianos, double-basses and plaintive organs. Let us break out!<br /><br />It's no good objecting that noises are exclusively loud and disagreeable to the ear.<br /><br />It seems pointless to enumerate all the graceful and delicate noises that afford pleasant sensations.<br /><br />To convince ourselves of the amazing variety of noises, it is enough to think of the rumble of thunder, the whistle of the wind, the roar of a waterfall, the gurgling of a brook, the rustling of leaves, the clatter of a trotting horse as it draws into the distance, the lurching jolts of a cart on pavings, and of the generous, solemn, white breathing of a nocturnal city; of all the noises made by wild and domestic animals, and of all those that can be made by the mouth of man without resorting to speaking or singing.<br /><br />Let us cross a great modern capital with our ears more alert than our eyes, and we will get enjoyment from distinguishing the eddying of water, air and gas in metal pipes, the grumbling of noises that breathe and pulse with indisputable animality, the palpitation of valves, the coming and going of pistons, the howl of mechanical saws, the jolting of a tram on its rails, the cracking of whips, the flapping of curtains and flags. We enjoy creating mental orchestrations of the crashing down of metal shop blinds, slamming doors, the hubbub and shuffling of crowds, the variety of din, from stations, railways, iron foundries, spinning wheels, printing works, electric power stations and underground railways.<br /><br />Nor should the newest noises of modern war be forgotten. Recently, the poet Marinetti, in a letter from the trenches of Adrianopolis, described to me with marvelous free words the orchestra of a great battle:<br /><br />"every 5 seconds siege cannons gutting space with a chord ZANG-TUMB-TUUMB mutiny of 500 echos smashing scattering it to infinity. In the center of this hateful ZANG-TUMB-TUUMB area 50 square kilometers leaping bursts lacerations fists rapid fire batteries. Violence ferocity regularity this deep bass scanning the strange shrill frantic crowds of the battle Fury breathless ears eyes nostrils open! load! fire! what a joy to hear to smell completely taratatata of the machine guns screaming a breathless under the stings slaps traak-traak whips pic-pac-pum-tumb weirdness leaps 200 meters range Far far in back of the orchestra pools muddying huffing goaded oxen wagons pluff-plaff horse action flic flac zing zing shaaack laughing whinnies the tiiinkling jiiingling tramping 3 Bulgarian battalions marching croooc-craaac [slowly] Shumi Maritza or Karvavena ZANG-TUMB-TUUUMB toc-toc-toc-toc [fast] crooc-craac [slowly] crys of officers slamming about like brass plates pan here paak there BUUUM ching chaak [very fast] cha-cha-cha-cha-chaak down there up around high up look out your head beautiful! Flashing flashing flashing flashing flashing flashing footlights of the forts down there behind that smoke Shukri Pasha communicates by phone with 27 forts in Turkish in German Allo! Ibrahim! Rudolf! allo! allo! actors parts echos of prompters scenery of smoke forests applause odor of hay mud dung I no longer feel my frozen feet odor of gunsmoke odor of rot Tympani flutes clarinets everywhere low high birds chirping blessed shadows cheep-cheep-cheep green breezes flocks don-dan-don-din-baaah Orchestra madmen pommel the performers they terribly beaten playing Great din not erasing clearing up cutting off slighter noises very small scraps of echos in the theater area 300 square kilometers Rivers Maritza Tungia stretched out Rodolpi Mountains rearing heights loges boxes 2000 shrapnels waving arms exploding very white handkerchiefs full of gold srrrr-TUMB-TUMB 2000 raised grenades tearing out bursts of very black hair ZANG-srrrr-TUMB-ZANG-TUMB-TUUMB the orchestra of the noises of war swelling under a held note of silence in the high sky round golden balloon that observes the firing..."<br /><br />We want to attune and regulate this tremendous variety of noises harmonically and rhythmically.<br /><br />To attune noises does not mean to detract from all their irregular movements and vibrations in time and intensity, but rather to give gradation and tone to the most strongly predominant of these vibrations.<br /><br />Noise in fact can be differentiated from sound only in so far as the vibrations which produce it are confused and irregular, both in time and intensity.<br /><br />Every noise has a tone, and sometimes also a harmony that predominates over the body of its irregular vibrations.<br /><br />Now, it is from this dominating characteristic tone that a practical possibility can be derived for attuning it, that is to give a certain noise not merely one tone, but a variety of tones, without losing its characteristic tone, by which I mean the one which distinguishes it. In this way any noise obtained by a rotating movement can offer an entire ascending or descending chromatic scale, if the speed of the movement is increased or decreased.<br /><br />Every manifestation of our life is accompanied by noise. The noise, therefore, is familiar to our ear, and has the power to conjure up life itself. Sound, alien to our life, always musical and a thing unto itself, an occasional but unnecessary element, has become to our ears what an over familiar face is to our eyes. Noise, however, reaching us in a confused and irregular way from the irregular confusion of our life, never entirely reveals itself to us, and keeps innumerable surprises in reserve. We are therefore certain that by selecting, coordinating and dominating all noises we will enrich men with a new and unexpected sensual pleasure.<br /><br />Although it is characteristic of noise to recall us brutally to real life, the art of noise must not limit itself to imitative reproduction. It will achieve its most emotive power in the acoustic enjoyment, in its own right, that the artist's inspiration will extract from combined noises.<br /><br />Here are the 6 families of noises of the Futurist orchestra which we will soon set in motion mechanically:<br /><br />1 2 3 4 5 6<br />Rumbles Whistles Whispers Screeches Noises obtained by percussion on metal, wood, skin, stone, tarracotta, etc. Voices of animals and men:<br />Roars Hisses Murmurs Creaks Shouts<br />Explosions Snorts Mumbles Rustles Screams<br />Crashes Grumbles Buzzes Groans<br />Splashes Gurgles Crackles Shrieks<br />Booms Scrapes Howls<br /> Laughs<br /> Wheezes<br /> Sobs<br /><br />In this inventory we have encapsulated the most characteristic of the fundamental noises; the others are merely the associations and combinations of these. The rhythmic movements of a noise are infinite: just as with tone there is always a predominant rhythm, but around this numerous other secondary rhythms can be felt.<br /><br />Conclusions<br /><br />1. Futurist musicians must continually enlarge and enrich the field of sounds. This corresponds to a need in our sensibility. We note, in fact, in the composers of genius, a tendency towards the most complicated dissonances. As these move further and further away from pure sound, they almost achieve noise-sound. This need and this tendency cannot be satisfied except by the adding and the substitution of noises for sounds.<br /><br />2. Futurist musicians must substitute for the limited variety of tones posessed by orchestral instruments today the infinite variety of tones of noises, reproduced with appropriate mechanisms.<br /><br />3. The musician's sensibility, liberated from facile and traditional Rhythm, must find in noises the means of extension and renewal, given that every noise offers the union of the most diverse rhythms apart from the predominant one.<br /><br />4. Since every noise contains a predominant general tone in its irregular vibrations it will be easy to obtain in the construction of instruments which imitate them a sufficiently extended variety of tones, semitones, and quarter-tones. This variety of tones will not remove the characteristic tone from each noise, but will amplify only its texture or extension.<br /><br />5. The practical difficulties in constructing these instruments are not serious. Once the mechanical principle which produces the noise has been found, its tone can be changed by following the same general laws of acoustics. If the instrument is to have a rotating movement, for instance, we will increase or decrease the speed, whereas if it is to not have rotating movement the noise-producing parts will vary in size and tautness.<br /><br />6. The new orchestra will achieve the most complex and novel aural emotions not by incorporating a succession of life-imitating noises but by manipulating fantastic juxtapositions of these varied tones and rhythms. Therefore an instrument will have to offer the possibility of tone changes and varying degrees of amplification.<br /><br />7. The variety of noises is infinite. If today, when we have perhaps a thousand different machines, we can distinguish a thousand different noises, tomorrow, as new machines multiply, we will be able to distinguish ten, twenty, or thirty thousand different noises, not merely in a simply imitative way, but to combine them according to our imagination.<br /><br />8. We therefore invite young musicians of talent to conduct a sustained observation of all noises, in order to understand the various rhythms of which they are composed, their principal and secondary tones. By comparing the various tones of noises with those of sounds, they will be convinced of the extent to which the former exceed the latter. This will afford not only an understanding, but also a taste and passion for noises. After being conquered by Futurist eyes our multiplied sensibilities will at last hear with Futurist ears. In this way the motors and machines of our industrial cities will one day be consciously attuned, so that every factory will be transformed into an intoxicating orchestra of noises.<br /><br />Dear Pratella, I submit these statements to your Futurist genius, inviting your discussion. I am not a musician, I have therefore no acoustical predilictions, nor any works to defend. I am a Futurist painter using a much loved art to project my determination to renew everything. And so, bolder than a professional musician could be, unconcerned by my apparent incompetence and convinced that all rights and possibilities open up to daring, I have been able to initiate the great renewal of music by means of the Art of Noises.Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com3tag:blogger.com,1999:blog-8229422.post-2593271986259734612007-10-25T12:21:00.000-07:002007-10-25T12:27:26.481-07:00Brion Gysin's Dreamachine: Notes by Genesis P-Orridge:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: <br /><br /><a href="http://brainwashed.com/h3o/dreamachine/booklet.html#what">WHAT IS A DREAMACHINE?</a><br /><br /><a href="http://brainwashed.com/h3o/dreamachine/booklet.html#master">HIS NAME WAS MASTER</a><br /><br /><a href="http://brainwashed.com/h3o/dreamachine/booklet.html#w/o_tears">BRION GYSIN'S DREAMACHINE WITHOUT TEARS</a><br /><br /><a href="http://brainwashed.com/h3o/dreamachine/booklet.html#light">THEE ONLY LANGUAGE IS LIGHT</a><br /><br /><a href="http://brainwashed.com/h3o/dreamachine/booklet.html#back">BACK IN NO TIME</a><br /><br /><a href="http://brainwashed.com/h3o/dreamachine/booklet.html#questionnaire">QUESTIONNAIRE</a><br /><br /><a href="http://brainwashed.com/h3o/dreamachine/booklet.html#rec_notes">NOTES ON THE RECORDINGS </a><br /><br /><a href="http://brainwashed.com/h3o/dreamachine/booklet.html#dream_notes">NOTES ON THE DREAMACHINE ITSELF </a><br /><br /><a href="http://brainwashed.com/h3o/dreamachine/booklet.html#install">THE DREAMACHINE AS INSTALLATION IN PUBLIC </a><br /><br /><a href="http://brainwashed.com/h3o/dreamachine/booklet.html#credits">CREDITS </a>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com1tag:blogger.com,1999:blog-8229422.post-1419836501677800912007-10-23T13:09:00.000-07:002007-10-23T14:22:18.892-07:00Minimal Man - "Slave Lullabyes" (1986) [*download]Many thanks to <a href="http://lost-intyme.blogspot.com/">Lost-In-Tyme</a> for posting. Review plus 2 links from which you can download the full LP... <br />>> <a href="http://lost-intyme.blogspot.com/2007/10/minimal-man-1986-slave-lullabyes.html"> Minimal Man - "Slave Lullabyes" (1986)</a>n <br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZsZAAMlo47r11bIVt1gS591U2T0kAaQ-hTe0IatCSNAFQynUK8DccvkSmZlqMx3mXsOjdLhrJz_zgpPonSCUk2r7FVIr820ZUXQ6qZgFzaE_q6AB6NbjCB95qSe8LrzimSF7w/s1600-h/cover_slavelullabyes_(2).jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZsZAAMlo47r11bIVt1gS591U2T0kAaQ-hTe0IatCSNAFQynUK8DccvkSmZlqMx3mXsOjdLhrJz_zgpPonSCUk2r7FVIr820ZUXQ6qZgFzaE_q6AB6NbjCB95qSe8LrzimSF7w/s400/cover_slavelullabyes_(2).jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5124640132279345410" /></a>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com2tag:blogger.com,1999:blog-8229422.post-11082338873272132042007-09-01T20:50:00.000-07:002007-10-19T13:12:26.462-07:00Z'EV INTERVIEWfound here >> <br /><a href="http://gonnabetimeless.blogspot.com/2007/08/031707-guest-zev.html">WE'RE GONNA BE TIMELESS: 03.17.07: Guest Z'EV</a>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com0tag:blogger.com,1999:blog-8229422.post-62798038184419624572007-08-20T18:29:00.000-07:002010-08-09T12:03:31.679-07:00“Tone Generator” of S.P.K. Interviewed<span style="color: rgb(153, 153, 153);">Recent interview with SPK via Tone Generator...</span><span style="color: rgb(255, 255, 255);font-size:100%;" ><span style="color: rgb(153, 153, 153);font-size:85%;" ><span style="color: rgb(0, 0, 0);"> </span><span style="color: rgb(0, 0, 0);"><br />
<br />
<span style="color: rgb(153, 153, 153);">[Read more over on: </span></span><a href="http://uglyradio.wordpress.com/2007/08/11/tone-generator-of-spk-interviewed/"><span style="font-weight: bold;">:::KILL UGLY RADIO::<span style="color: rgb(153, 153, 153);">:</span></span></a><span style="color: rgb(153, 153, 153);"><span style="font-weight: bold;">]</span></span></span><br />
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</div></div>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com0tag:blogger.com,1999:blog-8229422.post-5987442542218518192007-07-28T23:31:00.000-07:002007-10-19T12:30:27.098-07:00ROBERT RENTAL - 1979 DEMO TAPE [MP3]Posted over on <a href="http://mutant-sounds.blogspot.com/2007/02/robert-rental-mental-detentions-tape.html">MUTANT SOUNDS: ROBERT RENTAL/"Mental Detentions", Tape, 1979, UK</a>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com0tag:blogger.com,1999:blog-8229422.post-1154121291430378652007-07-01T16:44:00.000-07:002007-10-19T12:30:15.675-07:00Rhythm and Noise - Naut Humon - Z'EV<div style="text-align: left; font-family: trebuchet ms;"><div style="text-align: left;"> Where South San Francisco ends, desolation begins. In November 1980, flyers began appearing on neighborhood telephone poles announcing an upcoming Rhythm & Noise show. "Crisis Data Transfer," the poster promised. No location was given, but a recorded phone message provided detailed directions to "The Compound."<br /></div><br />The Compound sits among a grim terrain of decaying housing, abandoned warehouses, electrified chain-link fences and packs of wild dogs. It was R&N's first show. Upon arrival, walkie-talkie-wielding attendants drove our cars away, leaving us to warm our hands at scattered timer fires. The scheduled showtime came and went and still we waited and shivered in the damp Bay air. Finally, a huge steel grate door was raised and we entered into billowing smoke and ten channels of surround-sound. The interior was banked with video screens of all sizes and enough sound equipment with which to construct a small village, most of it with that homemade hacker's look to it. "Vaudeo" they called it: video narratives set to live and manipulated soundscapes. The music screeched, droned, undulated, and even, on occasion, harmonized -- always with some semblance of a beat. Rhythm & Noise -- a well-named ensemble. The Compound is scarier than ever now that crack kings control the territory. The video screens are gone and the cavernous interior is jammed with hanging steel drums, hollow tubes, huge springs, wires -- wires everywhere -- and a baby grand piano. A control tower houses an intimidating array of sound equipment -- analog, digital, sampling, synthesizing, hybridizing, mixing boards, keyboards. A Mac II waits in the wings.<br /><div style="text-align: left;"><br /></div><span style="font-weight: bold;">Naut Humon</span>, quintessential sound traffic controller began my tour slamming his arm down on a keyboard and manipulating the sustained sound for two roller-coaster minutes. Then he layered digitalized samples into an oscillating techno swamp. Synthesizers added electronic pterodactyls to the mix. Past sessions with percussionists, singers, and other musicians were called up to lend texture and spark. Finally this work in progress, "Running on Radar," treated the ears to soundwaves come full circle: noise tamed into post-modern lyricism. Naut Humon is the thread tying R&N together through the years. Z'ev, Nik Fault, Rex Probe, Michael Belfer, Comfort Control, and Diamanda Galas have been collaborators, but Humon is Rhythm and Noise:<br />--------------------------------------------------------------------------------------------------<br />"...In the early '70s Z'EV entered the picture. He was working with all these metal assemblages. He'd tune these racks of scrap until they were welded sculptures with sound functions. I'd quit Cal Arts so I could invest my money in equipment. We formed a group called Cellar M to combine live percussion with electronic manipulation. We did some good work, but dissonance wasn't hip yet." --------------------------------------------------------------------------------------------------<br /><span style="font-style: italic;">Q: How fully did you work out the pieces you performed with Z'ev?</span><br />A: There were definite flight plans, but they had room for spontaneous combustion.<br /><span style="font-style: italic;">Q: When did Rhythm & Noise emerge as a distinct entity?</span><br />A: In 1976, Nik Fault, Rex Probe, and I began a heavy period of research and development. We sold a lot of what we had and began to build most of our equipment. We started to develop The Compound, though we didn't actually perform until 1980. The punk/industrial movement was strong by that time, so we got some recognition, but people still couldn't understand it emotionally. At least not the way they could understand Led Zeppelin or whatever else they were used to listening to.<br /><span style="font-style: italic;">Q: You hadn't recorded anything yet?</span><br />A: Right. That's where Throbbing Gristle had an edge. They had a product. We had always avoided that. It wasn't until 1984 that the Residents convince us to record on their label Ralph Records.<br /><span style="font-style: italic;">Q: Is it possible to point to any roots for your music?</span><br />A: Our roots are more in timbre than in rock 'n' roll. We were definitely aware of people like Stockhausen and Xenakis. I listened to Hendrix, but the thing that was interesting was that he was adding noise to the blues and making it popular. I saw a bridge between Hendrix and Stockhausen. The challenge was to understand noise in an emotional manner.<br /><span style="font-style: italic;">Q: What distinctions do you make between live and recorded versions of your pieces?</span><br />A: Live performance should be different from what you experience in your living room. On the one hand, you have to create links to the past, to what is familiar, but live music should offer a sense of involvement, of immediacy, of surprise. It fascinates me how many rules you can break.<br /><span style="font-style: italic;">Q: You've talked about the concept of "dissonant convergence."</span><br />A: These are not necessarily contrary terms. R&N is realizing-embracing more mass harmonic structure because we are working to understand the harmonic of noise as well as the dissonance. The question is, do dissonant sounds form harmonics or a larger dissonance? You have the effect and the after-effect. Each sound becomes a memory capsule that you place in your own spectrum. It meshes with each subsequent sound. You determine its esthetic. One man's noise is another man's poison. Another question is, do you always need a beat, a rhythm, a pulse to make the relationship with the timbre, to make it speak to you or to the masses? It's hard to break out of pop shells. People don't understand things that aren't part of their existing paradigms. They want to be able to hum it, to remember it from high school days. I like how hip-hop is played through jam boxes so loud that distortion becomes part of the esthetic. In Cairo, the muezzin chants through loudspeakers so tinny and loud that noise becomes part of the prayer. And boom cars -- it's no longer, "My Cadillac is bigger than yours," now it's, "My noise is bigger than yours because I have five woofers." It's an intentional misuse of the technology. It proves that attitude depends on how you listen. You might like the music you hear while inside a club, but it might sound like noise if you live across the alley. We sound like noise to a lot of people."<br /><br /><br /><div style="text-align: left;"><span style="font-weight: bold;">[MP3]: <a href="http://www.cinemotiv.biz/storage/rhythm_&_noise_-_remembrance.mp3">Rhythm & Noise - Remembrance</a></span><br /><span style="font-weight: bold;">[MP3]: <a href="http://anundisclosedlocation-sf.com/storage2/Zev-theinvisibleman-selection21878.mp3">Z'EV: "The Invisible Man - Selection 2-18-78"</a></span><br /></div><span style="font-weight: bold;"><a href="http://www.cinemotiv.biz/storage/rhythm_&_noise_-_remembrance">||||</a><br /></span><span style="font-size:85%;"><span><br /></span></span> </div>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com1tag:blogger.com,1999:blog-8229422.post-1165280006445764392007-06-24T16:44:00.000-07:002007-06-30T02:06:41.225-07:00Industrial Culture | "True Stories About True Gore", by Jack Sargeant<div style="text-align: left;"><blockquote style="font-style: italic;font-family:trebuchet ms;"><span style="font-size:100%;">"Why do we watch a car accident on the freeway, or rush to see a fire, to drink in the tempestuous loveliness of terror, or simply to catch a glimpse of our destiny?" - True Gore</span></blockquote><blockquote style="font-style: italic;font-family:trebuchet ms;"><span style="font-size:100%;"><span style="font-family:trebuchet ms;"> "That's my primary goal. To get on people's nerves. So I always try and have something in them which I'm sure will get on somebody's nerves. And it's not a success unless people...or somebody...walks out, as far as I am concerned" - Monte Cazazza.</span><br /></span></blockquote><br /><span style=";font-family:trebuchet ms;font-size:100%;" > Opening with the credit "The Gore Brothers Present..." True Gore (1986) is the logical heir to the mondo movie, that bizarre genre that welds together the freak show, anthropological curiosity, and pure, salacious voyeurism. Directed by Matthew Causey, with Monte Cazazza credited as "creative consultant", the low-budget True Gore is reminiscent of the later, more notorious, mondo movies such as Faces Of Death (Conan Le Cilaire, 1979), and its many sequels. While these now-legendary genre films were produced for box office release most were considered too extreme, even for the sleazoid crowds inhabiting the scummy cinemas of 42nd Street and Times Square, and it was on video that they found their audience, in recognition of this True Gore, like many of the mondo movies of the late eighties, was produced directly on video(1).</span><br /><br /><span style=";font-family:trebuchet ms;font-size:100%;" > Divided into four sections - The World Of The Dead, The Eroticism Of Decay, Art And Death, and The Science Of Death - True Gore feigns an attempt at structural coherence, but the optical effects created using a video synthesizer and designed to mask the identity of the film's unnamed narrator, the purposefully clichéd narration, and the occasionally misspelled subtitles belay its low budget. However, this should not be used as a reason to decry the film, so much as it should be seen as a signifier to other mondo texts, which themselves are in part characterized by their less than pristine appearance, indeed the style adds to the illicit thrills offered by the genre. Like many of the later mondo films, True Gore focuses primarily on images of injury, death and decay(2), however, in addition to those images familiar to the genre, the film also contains many segments culled from Monte Cazazza's own underground filmmaking practice(3).</span><br /><br /><span style=";font-family:trebuchet ms;font-size:100%;" > The first section of the film - The World Of The Dead - consists of re-photographed images culled from medical textbooks and police training manuals, forensic pathology and medical education films, and some original footage shot in a morgue. These grisly images of damaged and rotting flesh are followed with clearly faked footage of a suicide victim laying in a blood filled bathtub, casually slashed wrist dangling over the side of the bath, blood dripping onto the linoleum floor(4). Where this section becomes most disturbing is in its usage of the aural footage of Jim Jones' last speech as 956 members of the People's Temple commit suicide slurping cyanide contaminated fruit juice. The suicide soundtrack - dubbed over photographs depicting various iconographic elements of the People's Temple, including their discipline room - was culled from Cazazza's extensive archive, and was also released as a picture disc by the World Satanic Network Service(5).</span><br /><br /><span style=";font-family:trebuchet ms;font-size:100%;" > As the film's second section starts the narrator states, with a showman's faux cynicism, "in the underground of the world these films are created for the sickest minds". This is followed by a collage of shots taken from the legendary First Transmission video, produced by the Temple Of Psychic Youth(6), and depicting scenes of ritualized SM sexual experimentation. These images are familiar to anybody who witnessed Psychic TV in their pre-acid house daze. Cazazza was, of course, a regular collaborator with P. Orridge and Psychic TV. The accompanying extra-diagetic soundtrack consists of Cazazza's "Sex Is No Emergency". This segment also contains images - "from Amnesty International" the narrator states - depicting a man being suspended over an oil-drum filled with water, before being dunked and beaten. For added effect a snake is thrown over the drowning man's head. The footage is fake. The victim is Cazazza. This scenes is followed by some genuinely disturbing images of vivisection: a live pig is tied down and military scientists stand over it holding a blow-torch, which is then played slowly across the squealing animals flesh which rapidly blackens, burns, and splits open. Next a cat has its scalp pealed and a chunk of its brain removed, as the narrator observes such experiments appear as senseless exercises. These images of genuine cruelty appear all the more horrific because of their juxtaposition with the fake footage.</span><br /><br /><span style=";font-family:trebuchet ms;font-size:100%;" > True Gore's third section, Art And Death, focuses once more on Cazazza's underground movies, as the narrator wryly comments, "at least it was self inflicted" the sequence is culled from Cazazza's 13 minute Super 8 collaboration with Tana Emmolo Smith, SXXX-80 (1980), a film which gleefully depicts what many would consider polymorphic sexual dysfunction as home movie, and was produced as a result of equal parts ennui and mischief on Cazazza's part. The extract presented in True Gore depicts Cazazza digging at a sore on his penis with a metal scalpel, and Smith letting a gigantic black centipede scuttle over her labia. Mimicking the fake-decorum of the death film genre, Smith's vagina and Cazazza's penis, both of which are visible in the original short film, are hidden behind tastefully positioned black squares, this is after all not a sex film(7).</span><br /><br /><span style=";font-family:trebuchet ms;font-size:100%;" > The extract from SXXX-80 is followed by a sequence taken from the 40 minute video Night Of The Succubus (1981) which documents a chaotic performance between Cazazza, Survival Research Laboratories and San Francisco Industrial band Factrix. From this ostensibly performance art documentation the film returns to the theme of necrophilia and lustmord. The ensuing footage, supposedly depicting two psychotic paraphyliacs, is faked, with a female necrophile played by artist Debra Valentine, and a male murder played by Cole Palme, who, despite being in shade, should be familiar to the film's audience, having just appeared in the previous scene playing bass and singing with Factrix. The performances given by these actors are convincing primarily because the scenes were shot in one take, with the actors reading from a script, the occasional stumbled words and phrases serve to create a haunting, confessional atmosphere.</span><br /><br /><span style=";font-family:trebuchet ms;font-size:100%;" > The film introduces the thematic of AIDS as the latest plague threatening to annihilate humanity. Notably, given the media treatment of the virus as "gay" and "junkie plague" at the time of True Gore's production, the film draws attention to the fact that AIDS is a disease that can attack anyone "we are all victims", drawls the narrator. Genuine autopsy footage ends the section of the film.</span><br /><br /><span style=";font-family:trebuchet ms;font-size:100%;" > The Science Of Death - True Gore's final section - consists primarily of stock footage depicting the shivering survivors of the Nazi Death Camps, which is intercut with images from Leni Riefenstahl's Triumph Of The Will (19 ). This is followed by what the narrator describes as "our homage to the Scientific Age". To the Atom Smashers' song "A Is For Atom" the film juxtaposes images from Cold War propaganda films with scientific cartoons explaining radiation, and images of the burned and mutilated survivors of Nagasaki and Hiroshima.</span><br /><br /><span style=";font-family:trebuchet ms;font-size:100%;" > The film closes with the narrator walking through a graveyard, and telling the audience "to live in fear of death is a waste of life". A short, sombre scene follows, depicting row-upon row of tombstones. The soundtrack consists of church bells. The camera spins through the graveyard and positions the viewer gazing out from an open grave. This cuts to the image of a laughing mechanical clown, once more suggesting the carney roots of the mondo genre, and the wound black humour of True Gore's aesthetic. End.</span><br /><br /><span style=";font-family:trebuchet ms;font-size:100%;" ><br />Notes:</span><br /><span style=";font-family:trebuchet ms;font-size:85%;" > (1)Other direct to video mondo film's include Nick Bougas' excellent Death Scenes (1989) and Death Scenes 2 (1992), and the Brain Damage production Traces Of Death (1993).</span><span style="font-size:85%;"><br /><br /></span><span style=";font-family:trebuchet ms;font-size:85%;" > (2)Earlier mondo movies - produced in the sixties - whilst presenting some violent images, also luxuriated in scenes of indigenous cultures (and especially those cultures for whom nudity is a norm), nudist colonies, occult ceremonies, and safari scenes, all of which have subsequently became visual staples on television. The genre's interest in sex and sexuality boomed in the early seventies, with titles such as Alex De Rezny's Sexual Encounter Group (1970), Sex And Astrology (1970), and Sexual Freedom In Denmark (1970), as well as Pat Rocco's Sex And The Single Gay (1970), but was rapidly rendered as pointless with the explosion and subsequent availability hardcore pornography in the seventies (following the massive success of Gerard Damiano's Deep Throat which - in 1972 - served to partially legitimize hardcore, and also served to show the massive market for such movies). Finally it was the continued taboos surrounding violence and death that remained, and these have subsequently become the focal point of mondo movies. This thematic eruption is also due to the increasing availability of footage depicting violence and death, due - primarily - to the popularity of video technologies which are utilized by news gathering teams, as well as the emergency services, thus guaranteeing a virtual glut of available visceral footage.</span><span style="font-size:85%;"><br /><br /></span><span style=";font-family:trebuchet ms;font-size:85%;" > (3)Cazazza has directed, produced, and collaborated on a string of movies, including, amongst others: Revolt 2000 (1974) in which he acts like a terrorist and builds a bomb using information from Assassin magazine, the film is now lost. Diary Of A Rubber Slave (1976) subsequently stolen, Mondo Homo (1976) - another engagement with the mondo genre, filmed in secret at the notorious gay bar The Slot, the film was one of the first to depict fist fucking - subsequently stolen. Mystery Movie (co-directed with Genesis P. Orridge, 1976, whereabouts unknown). Death Wish (1977), consisting of re-photographed tv footage. Black Cat Tea (co-directed with Mary Quayzar, 1979/80), Behind The Iron Curtain (1980), SXXX-80 (co-directed with Tana Emmolo Smith, 1980), Night Of The Succubus (co-directed with Factrix, 1981), and Catsac (with Michelle Handelman, 1989) . In addition Cazazza has produced and collaborated with Handelman on Blood Sisters (1991), and collaborated with Psychic TV on the videos Terminus and Eden Three (1987).</span><span style="font-size:85%;"><br /><br /></span><span style=";font-family:trebuchet ms;font-size:85%;" > (4)The usage of re-constructed / fake footage is one of the central aspects of the mondo genre in its latter incarnation as a grim sideshow of annihilation.: "Although many of the sequences involving killings were fabricated, the filmmakers attempted to make distinguishing fake from fact as difficult as possible" (David Kerekes and David Slater, Killing For Culture, An Illustrated History Of Death Film From Mondo To Snuff, Creation Books, 1995 (first published 1994) p.113).</span><span style="font-size:85%;"><br /><br /></span><span style=";font-family:trebuchet ms;font-size:85%;" > (5)The World Satanic Network Service aka Vagina Dentata Organ released a string of records documenting various extreme events, including Cold Meat, which consisted of the sound of somebody breathing - and dying - whilst on an infribulator, and came as a picture disc depicting photographs of Maralyn Monroe and Elvis Presley in death.</span><span style="font-size:85%;"><br /><br /></span><span style=";font-family:trebuchet ms;font-size:85%;" > (6)This video depicted various rituals undertaken by members of the Temple Of Psychic Youth, and was frequently screened, in both whole and part, during the early eighties. In 19 however a copy fell into the hands of a right-wing fundamentalist group, who used the tape to `prove' Satanic abuse.</span><span style="font-size:85%;"><br /><br /></span><span style=";font-family:trebuchet ms;font-size:85%;" > (7)It is an oddity of the mondo genre that, whilst depicting death with glee, depictions of sexual organs are less common, with producers and directors frequently choosing to hide them behind visual effects, this reaches its zenith in Death Women - a Japanese film of unspecified date and direction - which depicts extreme images of female corpses - strangled, crushed, torn, ripped, savaged, and burned - yet tastefully pixellates any images of the corpses' pubic region and vaginas.</span><br /><br /><span style=";font-family:trebuchet ms;font-size:100%;" > ©Jack Sargeant</span> </div>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com0tag:blogger.com,1999:blog-8229422.post-68742127895677469632007-06-19T23:11:00.000-07:002007-07-10T12:54:42.942-07:00Minimal Man [MP3s + Webpage]<span style="font-weight: bold;font-family:courier new;" >Check out the tribute page I made for <a href="http://www.myspace.com/minimalmanpatrickmiller">MINIMAL MAN (aka PATRICK MILLER)</a> on mySpace, </span><span style="font-weight: bold;font-family:courier new;" >which currently has </span><span style="font-weight: bold;font-family:courier new;" >4 tracks up for listening (not downloadable):<br /></span><ol style="font-family: courier new; font-weight: bold;"><li>She Was A Visitor</li><li>Ascension</li><li>Show Time</li><li>High Why<br /></li></ol><span style="font-weight: bold;font-family:courier new;" ><br />*I will also be posting 1 or 2 Minimal Man mp3's sometime soon, on this blog...any requests?</span>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com2tag:blogger.com,1999:blog-8229422.post-87835971064027205292007-04-25T16:50:00.000-07:002007-06-30T02:07:56.780-07:00Minimal Man: He Who Falls / She Was A Visitor (7") [MP3]<div style="text-align: left;"><div style="text-align: center;"> <div style="text-align: left; font-weight: bold;"> </div><div style="text-align: center;font-family:courier new;"><div class="post-body"><div style="text-align: center;"><span style="font-weight: bold; color: rgb(51, 51, 51);font-family:courier new;font-size:85%;" >>></span><span style="font-weight: bold; color: rgb(51, 51, 51);font-family:courier new;font-size:85%;" > </span><span style="font-weight: bold; color: rgb(51, 51, 51);font-size:100%;" ><a style="font-family: courier new;" href="http://www.sendspace.com/file/84iymi" target="_self">download here [10mb]</a></span><span style=";font-family:courier new;font-size:100%;" ><span style="font-weight: bold;"> </span><br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/x/blogger/4307/3369/1600/411772/MM_front.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://photos1.blogger.com/x/blogger/4307/3369/1600/411772/MM_front.jpg" alt="" border="0" /></a><span style=";font-family:courier new;font-size:100%;" > debut single </span><span style=";font-family:courier new;font-size:100%;" >/ </span><span style="font-weight: bold;font-family:courier new;font-size:100%;" >1980 </span><span style=";font-family:courier new;font-size:100%;" >/ Monster Music </span><br /></div> <span style="color: rgb(51, 51, 51); font-weight: bold;font-family:courier new;font-size:100%;" ><a href="http://www.sendspace.com/file/84iymi" target="_self"></a></span></div></div></div></div>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com2tag:blogger.com,1999:blog-8229422.post-27457414591366084422007-03-13T20:27:00.000-07:002007-08-21T06:12:08.243-07:00Iannis Xenakis: Phillips Pavilion, Poème Electronique, Edgard Varèse [Brussels 1958]<span style="font-family:arial,helvetica,sans;"><span style="font-size:180%;"><strong></strong></span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:180%;"><strong><br /><br /></strong></span></span><p></p><div style="text-align: justify;"><div style="text-align: left;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.lib.umd.edu/ARCH/exhibition/images/1958bru/philips3.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 400px;" src="http://www.lib.umd.edu/ARCH/exhibition/images/1958bru/philips3.jpg" alt="" border="0" /></a><span style=";font-family:trebuchet ms;font-size:85%;" >The Philips Pavilion was more than a building at the fair -- it was a multimedia experience </span><span style=";font-family:trebuchet ms;font-size:85%;" >displaying the technological prowess of the Philips company by combining light, sound, and color. </span><span style=";font-family:trebuchet ms;font-size:85%;" ><br /><br />Le Corbusier's involvement in the Philips Pavilion is often overestimated. In reality, most of the designing was carried out by his collaborator <span style="font-weight: bold;">Iannis Xenakis</span> (b.1922) a Greek architect and music composer working in Le Corbusier's office at the time.</span><br /></div><br /></div> <div style="text-align: left;"><div style="text-align: center;"><div style="text-align: left;"><span style=";font-family:arial,helvetica,sans;font-size:78%;" ><span style="font-family:arial;"><br /></span></span><br /><div style="text-align: left;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.lib.umd.edu/ARCH/exhibition/images/1958bru/philips2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: left; cursor: pointer; width: 400px;" src="http://www.lib.umd.edu/ARCH/exhibition/images/1958bru/philips2.jpg" alt="" border="0" /></a></div><div style="text-align: right;"> </div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style=";font-family:arial,helvetica,sans;font-size:78%;" > </span> </div></div></div><span style=";font-family:arial,helvetica,sans;font-size:78%;" ><span style="font-style: italic;font-family:arial;" > </span></span><hr /><p><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;">These photographs taken from a 1958 issue of <em>Philips Technical Review</em> depict the Philips Pavilion at the 1958 Brussels World's Fair. Located in a small site next to the Dutch section and away from the center of the fair, the pavilion hosted a </span><span style="font-weight: bold;font-size:85%;" >futuristic multimedia display </span><span style="font-size:85%;">featuring </span><span style="font-weight: bold;font-size:85%;" >images</span><span style="font-size:85%;">, </span><span style="font-weight: bold;font-size:85%;" >colored lighting</span><span style="font-size:85%;"> and </span><span style="font-weight: bold;font-size:85%;" >music</span><span style="font-size:85%;"> and </span><span style="font-weight: bold;font-size:85%;" >sounds</span><span style="font-size:85%;"> called the "</span><span style="font-weight: bold;font-size:85%;" >Poème Electronique</span><span style="font-size:85%;">."<br /></span></span></p><p><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"><br />Some of the greatest artistic minds of the twentieth century were involved in its creation, including the architect </span><span style="font-weight: bold;font-size:85%;" >Le Corbusier</span><span style="font-size:85%;"> (</span><span style="font-weight: bold;font-size:85%;" >1887-1965</span><span style="font-size:85%;">) and the composer </span><span style="font-weight: bold;font-size:85%;" >Edgard Varèse </span><span style="font-size:85%;">(</span><span style="font-weight: bold;font-size:85%;" >1883-1965</span><span style="font-size:85%;">). But most importantly, the Philips Pavilion represented an important artistic phenomenon through its synthesis of architecture, visual media and music.</span></span></p><p><span style=";font-family:arial,helvetica,sans;font-size:85%;" ><br />The purpose of the pavilion was to exhibit the technology of the Philips corporation, a Dutch electronics company specializing in everything from sound production to fluorescent lighting to X-ray technology. Philips' aim was obviously promotional, integrating corporate advertisement into an exhibit much like the pavilions by General Motors and Ford at the Chicago fair of 1933 and the New York fair of 1939. But rather than having a traditional pavilion that would display their products for the visitors to browse through, Philips chose to create an integrated work of modern art that would utilize its wide array of technologies. Therefore, the Philips pavilion had no exhibits <em>per se</em>; rather it was a kind of exhibit in itself; an all-encompassing showcase of what the Philips corporation could offer.<br /></span></p><p><span style=";font-family:arial,helvetica,sans;font-size:85%;" ><br />For the execution of this unique undertaking, Philips selected the French architect Le Corbusier, one of the greatest modern designers of the twentieth century. Philips executives approached him in January 1956 to design, in the words of artistic director Louis Kalff, a "spatial-color-light-music production" for the Philips corporation (Treib 2). Le Corbusier was by this time near the end of his career, but also at the height of his powers, as demonstrated by his recently completed masterpieces including the Unit‚ d'Habitation in Marseilles (1946-52) and the chapel of Notre Dame du Haut in Ronchamp, France (1950-54). Philips executives no doubt expected a first-class design from Le Corbusier, but they also expected him to direct the entire concept of the Poème Electronique and all of its images and lighting, in addition to the architecture. In effect, Philips gave Le Corbusier <em>carte blanche</em> to create their pavilion, insisting only that he utilize the various technological media the company was producing.</span></p><p><span style="font-family:arial,helvetica,sans;"><br /><span style="font-size:85%;">Le Corbusier's involvement in the Philips Pavilion is often overestimated. In reality, most of the designing was carried out by his collaborator </span><span style="font-weight: bold;font-size:85%;" >Iannis Xenakis</span><span style="font-size:85%;"> (b.1922), a Greek architect and music composer working in Le Corbusier's office at the time. Xenakis would later become famous for his use of rigorous mathematical concepts and relationships in his music, but at this time was not well known. This may be part of the reason that he receives less recognition for the design than he probably deserves, coupled with Le Corbusier's prestige and public exaggerations of his own role. Le Corbusier was more concerned with what was going on inside the pavilion and cared little about its exterior appearance. Even the spectacle inside was not completely his own, for the music was by Edgard Varèse, a well-known composer at the time and a pioneer in the field of electronic music and the use of non-instrumental sounds, exemplified by<em> Ionization</em> (1930-31) and <em>Deserts</em> (1949-54). It was Le Corbusier, however, who insisted that Varèse be chosen to compose the music, for Philips wanted to enlist the talents of the more famous but less radical British composer Benjamin Britten. But after succeeding in his plea, Le Corbusier left Varèse a completely free hand in composing the music.</span></span></p><p><span style=";font-family:arial,helvetica,sans;font-size:85%;" ><br />Although Xenakis was the principal designer of the Philips Pavilion, the architecture didoriginate with Le Corbusier's general concepts. These consisted of descriptions of a "stomach" to contain the Poème Electronique, with a twisted path for entrance and exit and warped, curving walls on which to project the colors and images. This basic concept was about as far as Le Corbusier's architectural involvement went. The shape of the building would be left for Xenakis to determine. The pavilion was to serve as a small auditorium, where approximately five hundred seated visitors could see the images projected on all the walls around them, as if it were an irregularly shaped planetarium. His point of departure for the structure was a series of conjoined hyperbolic parabaloids-curved planes mathematically generated entirely from straight lines-that would form a tent-like enclosure for the stomach-shaped floor plan. The sloping walls of the hyperbolic parabaloids would satisfy Le Corbusier's idea of irregular warped surfaces for the projection of images. The geometric form also appealed to Le Corbusier's desire for mathematical rationality while the dramatic slopes and contours of the pavilion related to a more expressionistic idiom.</span></p><p><span style=";font-family:arial,helvetica,sans;font-size:85%;" ><br />The execution of the design proved to be problematic. Xenakis' own structural solution involved a tensile structure of steel cables strung from steel posts at the ends of the "tent" to form the hyperbolic parabaloids. It was rejected on the grounds that the interior would require more solid, acoustically insulating walls. Le Corbusier and the sound engineers wanted a structure of concrete to keep exterior noise from interfering with the presentation. But the complex shapes of Xenakis' hyperbolic parabaloids made it impossible to build a conventional poured concrete structure. The solution that would satisfy both Xenakis' ideas and the acoustical requirements of the Poeme Electronique was a system of precast concrete panels hung in tension from wire cables. Because hyperbolic parabaloids are generated by straight lines, the method of using precast panels was easy to implement. This ingenious compromise was devised by Hoyte Duyster, the chief engineer for the Philips project. The panels were constructed in a hangar shed from a simple sand mold that matched the curvature of the pavilion. Once the panels were cast around the sand mold, they were numbered, shipped to the construction site and quickly assembled. They would hang on steel cables strung from thin concrete ribs that were cast in place. These ribs are visible in the photograph where the walls converge at the ends of the pavilion. The result was a quickly and efficiently constructed building that fulfilled the requirements of the Poème Electronique.<br /></span></p><p><span style=";font-family:arial,helvetica,sans;font-size:85%;" ><br />While the design of the pavilion was underway, Le Corbusier was busy figuring out what would be happening inside. Le Corbusier wanted the Poème Electronique to consist of an eight-minute film made up of an array of still photographs highlighted by changing washes of colored light on the interior surfaces of the pavilion. The underlying concept related to Le Corbusier's own view of the progress of humankind through history and into the future. However, the Poème would not be a presentation of concrete images associated with events or historical developments. It was meant to be abstract and highly symbolic, with groups of stills chosen to make a statement about humanity. These images, including such diverse subject matter as tribal art, baby faces, animals, machinery, Charlie Chaplin and even a mushroom cloud, were arranged in rather confusing combinations and juxtapositions. For example, Charlie Chaplin and the mushroom cloud would be shown next to each other in an attempt to show the absurdity of modern warfare. The eight minutes was made up of seven sequences: "Genesis," "Matter and Spirit," "From Darkness to Dawn," "Manmade Gods," "How Time Molds Civilization," "Harmony," and "To All Mankind." The actual filming of the images was carried out by Philippe Agostini, a celebrated filmmaker who further enhanced the visual potency of the PoŠme with his techniques of quick montage, innovative framing methods, and rotation, reflection and movement of the images. The color projections were integrated into this grand scheme and were laid out in a sequence that would help dictate the mood of each image or series of images. All visual media utilized Philips' latest projection equipment. The final result was a highly original visual arts spectacular showcasing Philips technology, but more importantly an artistic expression of Le Corbusier's vision of humanity, laced with all its propaganda and personal biases (including images of Le Corbusier's designs meant to suggest mankind's hope for the future).</span></p><p><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"><br />The audio component of the Poème Electronique however, was completely devoid of the influence of Le Corbusier. Varèse was given free reign in this respect, composing the music sporadically from the time he accepted the commission in 1956 to when it was recorded in late 1957, while the pavilion itself was nearly complete. The music was purposefully to have no relationship to the visual components of the presentation, so that the entire ensemble would not be one of coherence, but one of abstraction and juxtaposition. The eight-minute composition consists of a combination of electronically generated sounds and "concrete" sounds, or real-life sounds and noises that have been recorded. While to most ears the "music" sounds like a lot of swirling and tapping noises with bizarre human voice sounds, it is actually a carefully structured composition with a recurrence of themes leading to variations and climaxes. But the music also had a spatial dimension, in that different sound sequences were directed out of one of the hundreds of speakers that were mounted on the pavilion walls. The effect was a sense of "moving music," where sounds would whisk across the space in a manner that would enhance the rising and falling aspects of the composition itself. The music was the final dimension in this showcase of Philips' technology, for it was all recorded using the company's high-tech audio equipment, and projected from their sound reproduction equipment and speakers. And although it had no direct relationship with the rest of the Poème Electronique, Varèse's music was integral to the final ensemble because it presented a audio component that was as equally modern and abstract as the architecture and images.<br /></span></span></p><div style="text-align: left;"><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"><br />The combination of Xenakis' architecture, Le Corbusier's visual ensemble, and Varèse's</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> music provided a very memorable experience. Millions of people visited the Poème</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> Electronique, and all agreed that was new and different. The general public was for the most part</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> baffled by the bizarre images and sounds. Howard Taubman of the New York Times called it</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> "the strangest building at the fair," and remarked that "the sounds that accompany these images</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> are as bizarre as the building" (17). This attitude is generally representative of the public</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> response to the building. The response of critics specializing in art and architecture, however,</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> was extremely varied. A Swedish critic characterized the pavilion as "a deeply fascinating</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> realization of a dream which has tempted artists since...Wagner: the dream of the total work of</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> art" (Romare 175). Although this view is typical of the pavilion's supporters, its detractors often</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> focused on specifics rather than the ensemble in its entirety. The architecture in particular was</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> harshly criticized for its awkwardness and uncomfortable ambiguity between structural</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> rationality and free-form expressiveness. Italian architect Ernesto Rogers thought that "where the</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> result should have been a fluid sequence of convexities and concavities..., there are disturbing</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> elements for reinforcing....It is not a fulfilled architecture, it is not a clear composition; it is only</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> the indication of new architectonic dimensions" (4). Rigid tectonics and smooth, curving</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> surfaces tended to cancel each other out. Varèse's score would exercise the most lasting</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> influence of any aspect of the Philips Pavilion. While not enthusiastically received by the public,</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> it influenced an entire generation of avant-garde composers with its use of electronic music,</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> including the American John Cage and the German Karlheinz Stockhausen. In the end, the area</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> afforded least attention and recognition by the Philips corporation became the most memorable</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> part of their exhibit. The Philips Pavilion is mentioned only briefly when discussing the career of</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> Le Corbusier, as a footnote to an already distinguished career. But the Poème</span></span><span style="font-family:arial,helvetica,sans;"><span style="font-size:85%;"> Electronique by Edgard Varèse was one of his greatest accomplishments.<br /></span></span></div><p style="text-align: left;"><span style=";font-family:arial,helvetica,sans;font-size:85%;" ><br />The Philips Pavilion was demolished on January 30, 1959. Like most world's fair buildings, it was a temporary structure never meant to remain standing beyond the duration of the fair. But because it was demolished, the work of art is lost forever. We can see pictures like these, look at Le Corbusier's images, even listen to Varèse's score, but the complete ensemble integrated into a single space surrounding and moving around the visitor is something that can never be recreated. Therefore, the Philips Pavilion and its Poème Electronique remain an artistic achievement that have left their mark on precisely eight minutes of history.</span></p><p style="text-align: left;"><span style=";font-family:arial,helvetica,sans;font-size:85%;" ><span style="font-style: italic;"><br />~<span style="font-weight: bold;">Aaron Zephir<br /></span></span></span></p>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com1tag:blogger.com,1999:blog-8229422.post-1168751107067909022007-01-13T21:05:00.000-08:002007-08-21T06:16:32.657-07:00VIDEO: Poeme Electronique (Edgar Varese)<span style="font-family:trebuchet ms;">REQUIRED VIEWING: "Poeme Electronique", </span><span style="font-family:trebuchet ms;">by Electronic Music pioneer Edgar Varese & Le Corbusier. </span><span style="font-family:trebuchet ms;">(Originally presented </span><span style="font-family:trebuchet ms;">in 1958</span><span style="font-family:trebuchet ms;"> at the World Expo in Belgium)</span> <br /><br /><object width="425" height="350"><param name="movie" value="http://www.youtube.com/v/rC3OXai7W9I"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/rC3OXai7W9I" type="application/x-shockwave-flash" wmode="transparent" width="425" height="350"></embed></object><br /><br /><div align="left"><span style="font-size:100%;"><br /><a href="http://www.youtube.com/watch?v=rC3OXai7W9I"><span style="font-family:trebuchet ms;">Varese & Le Corbusier - Poeme electronique</span></a></span></div>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com2tag:blogger.com,1999:blog-8229422.post-1162273438484501762006-10-30T21:43:00.000-08:002014-01-26T22:53:57.242-08:00Industrial Culture Handbook: Monte Cazazza (RE/Search #6/7)<div style="font-family: trebuchet ms;">
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<span style="font-size: 130%;"><span style="font-weight: bold;">MONTE CAZAZZA</span></span></div>
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<span style="font-weight: bold;">[PARTIAL BIO, 1972-'82]:</span><span style="font-size: 100%;"><span style="font-weight: bold;"> </span></span><br />
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<span style="font-size: 100%;"><span style="font-size: 100%;">In 1977 Monte entered the studios of Industrial Records to record '<span style="font-style: italic;">Plastic Surgery</span>,' '<span style="font-style: italic;">Busted Kneecaps</span>,' '<span style="font-style: italic;">Fistfuckers of America</span>', '<span style="font-style: italic;">Hate'</span>, and '<span style="font-style: italic;">To Mom on Mother's Day</span>.' His first 45 is out of print. A film was made with <b>Throbbing Gristle</b> where Monte and a 14-year-old were electrocuted. He plays also in the film "<b><i>Decadence</i></b>" by <b>Kerry Colonna</b> with razor blades. </span></span><br />
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[DISCOGRAPHY]:</div>
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<li><span style="font-weight: bold;"> TO MOM ON MOTHER'S DAY</span> (45, Industrial Records, IR 005, 1979) </li>
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<li><span style="font-weight: bold;"> SOMETHING FOR NOBODY</span> (EP, Industrial Records, IR 0010, 1980) </li>
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<li><span style="font-weight: bold;"> MONTE CAZAZZA LIVE</span> (C60 cassette, Industrial Records, IRC 28, 1980) </li>
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<li><span style="font-weight: bold;"> CALIFORNIA BABYLON</span> (LP, in collaboration with <span style="font-weight: bold;">FACTRIX</span>; Subterranean Records, Sub 26, 1982) </li>
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<li><span style="font-weight: bold;"> STAIRWAY TO HELL</span> (SS 45-007, special package with 45, from Sordide Sentimental, France; 1982) </li>
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<span style="font-weight: bold;"> MONTE'S VIDEOTAPES</span> </div>
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<li> Videotape of performances at the <span style="font-weight: bold;">SCALA CINEMA</span> and <b>Live at </b><span style="font-weight: bold;">OUNDLE SCHOOL</span></li>
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<li><span style="font-weight: bold;"> NIGHT OF THE SUCCUBUS</span> (produced in collaboration with <span style="font-weight: bold;">Factrix,</span> 1981) </li>
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<span style="font-weight: bold;"> PERFORMANCE ART EVENTS</span> </div>
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<li><span style="font-size: 130%;"> <span style="font-size: small;">Large display titled "</span></span><span style="font-size: small; font-weight: bold;">Defend Yourself</span><span style="font-size: small;">" featured board with knives stuck in it (free for the taking). Mannikins dressed as winos and bag people left in alleys with hidden cheap cassette recorders playing tape loops of screams and ranting and raving. Spring 1972. Oakland, CA USA.</span> </li>
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<li><span style="font-weight: bold;"> FUTURIST SINTESI.</span> Galeria 591. Sex-religious show; giant statue of Jesus got chain sawed and gang-raped into oblivion. Dec. 21, 1975. San Francisco, CA, USA. </li>
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<li><span style="font-weight: bold;"> RADIO AD TV ASSEMBLAGE AND DANCE</span>. Shattuck Ave Studios. Giant wall construction of televisions and radios playing for 3 days (& nights) straight. June 25, 1976. Berkeley, CA, USA. </li>
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<li><span style="font-weight: bold;"> MANIC MOVEMENT</span>. Collaboration with <span style="font-weight: bold;">Kimberly Rae</span>. Berkeley Square. Kim tied up on spring-mounted platform; Monte appears squirming on floor in black body bag, cuts self out, cuts Kim loose, then destroys toys and props with hatchet to loud Romper Room record. Ended in fire. Jan 30, 1981. Berkeley CA USA.</li>
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<span style="font-weight: bold;"> CONCERTS/MUSIC</span> </div>
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<li><span style="font-weight: bold;"> KEZAR PAVILION</span> Performance spectacular with <span style="font-weight: bold;">Mark Pauline</span> and <span style="font-weight: bold;">Factrix</span>. First time working with Mark. War machines; spinning swastika with Monte inside; <span style="font-weight: bold;">Scott & Beth B. films</span>; also showing of "<i>Behind The Iron Curtain</i>" by Monte. Dec 6, 1980. San Francisco, CA USA. </li>
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<li><span style="font-weight: bold;"> BERKELEY SQUARE</span>. Guest appearance with <span style="font-weight: bold;">Factrix</span>. All music, more sedate show. Dec. 12, 1980. Berkeley, CA </li>
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<li><span style="font-size: 130%;"><span style="font-weight: bold;"> <span style="font-size: small;">ED MOCK DANCE STUDIO</span></span><span style="font-size: small;"><span style="font-family: trebuchet ms;">.</span> "</span></span><span style="font-family: trebuchet ms; font-size: small; font-weight: bold;">Night of the Succubus</span><span style="font-family: trebuchet ms; font-size: small;">" in collaboration with </span><span style="font-family: trebuchet ms; font-size: small; font-weight: bold;">Factrix</span><span style="font-family: trebuchet ms; font-size: small;">. Films, slides, organic robots, dance by Kimberly Rae, dart gun used for the first time by Monte, electro-shock, dental surgery on dead animal-machine. Member of audience angrily attacked 'robot' with chair, shouting that it wasn't 'erotic'. Video available. June 6, 1981. San Francisco. CA USA. p. 8</span><span style="font-family: trebuchet ms; font-size: small;">0 </span></li>
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Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com0tag:blogger.com,1999:blog-8229422.post-1121388465114309392006-08-11T16:44:00.000-07:002007-05-17T19:22:15.090-07:00MINIMAL MAN<div style="text-align: center;"><img src="http://www.ltmpub.freeserve.co.uk/images/mmtsosmall" /><br /></div><br /><div style="text-align: justify;"><strong style="font-family: arial;">Patrick Miller</strong><span style="font-family:arial;">, avant-garde leader of underground 'antimusic' ensemble </span><strong style="font-family: arial;">Minimal Man</strong><span style="font-family:arial;">, was born in Glendale, California, on 2 January 1952 and studied art at Sonoma State University, where he concentrated chiefly on silk-screening.</span><br /><br /><span style="font-family:arial;">After moving to San Francisco in 1979 he immediately began to experiment with music and film. Minimal Man began as a vehicle to produce soundtracks for these films, with the realization that anyone could do so given access to the tools. Miller also began to collaborate with a wide variety of punk, new wave and industrial musicians, including </span><strong style="font-family: arial;">Tuxedomoon</strong><span style="font-family:arial;">, and by October Minimal Man were performing at the legendary </span><strong style="font-family: arial;">Deaf Club</strong><span style="font-family:arial;"> venue, and elsewhere.</span><br /><br /></div><div style="font-family: arial; text-align: justify;">Minimal Man became one of a select handful of influential groups from this era to bridge punk and industrial music with aggressive blasts of noise and electronic effects. As the core of Minimal Man, Miller sang (and screamed), played keyboards and manipulated tapes to create their dissonant, unsettling, experimental sound. One critic described the result simply as '<em style="font-weight: bold;">antimusic</em>.'<br /></div><div style="text-align: justify;"><br /><span style="font-family:arial;">The band name was inspired by people who lived in the low income Fillmore district of San Francisco. Though often without basic needs, these were people creative in adapting to life on the street. Miller's conception of Minimal Man was a character with 'everything against him.'</span><br /><br /><span style="font-family:arial;">The debut Minimal Man album </span><em style="font-family: arial;">The Shroud Of</em><span style="font-family:arial;"> was originally released by Berkeley label Subterranean Records in 1981, when the core band comprised a trio of Miller with Andrew Baumer and Lliam Hart. Guest musicians included </span><span style="font-weight: bold;font-family:arial;" >Tuxedomoon</span><span style="font-family:arial;"> members Steven Brown and </span><span style="font-weight: bold;font-family:arial;" >Michael Belfer</span><span style="font-family:arial;"> (</span><em style="font-weight: bold; font-family: arial;">Sleepers</em><span style="font-family:arial;">), along with several others who reflect a revolving door policy with regard to personnel that Miller actively encouraged. </span><strong style="font-family: arial;">Bond Bergland</strong><span style="font-family:arial;"> and </span><strong style="font-family: arial;">Cole Palme</strong><span style="font-family:arial;"> also played in Minimal Man prior to founding </span><strong style="font-family: arial;">Factrix</strong><span style="font-family:arial;">.</span><br /><br /><span style="font-family:arial;">The cover of </span><span style="font-style: italic;font-family:arial;" >The Shroud Of</span><span style="font-family:arial;"> features one of Miller's signature paintings. Writer Neil Strauss recalls: 'They were all variations on one image: a featureless head or mask, usually wrapped in strips of bandages that were peeling off to reveal a discoloured, decomposed face. It was a self-portrait. It wasn't even a mask; it was what lay beneath the mask (at least in his darkest moments) - a paranoid, dark, disturbed shell of a human being."</span><br /><br /><span style="font-family:arial;">In January 1983 Minimal Man recorded a second album, Safari, a more conventional set than the debut, with Miller and Baumer now joined by a guitarist and drummer. In 1985 Miller relocated to Europe, settling in Brussels alongside Tuxedomoon, and recorded </span><em style="font-family: arial;">Sex With God</em><span style="font-family:arial;"> (1985), </span><em style="font-family: arial;">Slave Lullabyes</em><span style="font-family:arial;"> (1986), </span><em style="font-family: arial;">Hunger Is All She Has Ever Known</em><span style="font-family:arial;"> (1988) and </span><em style="font-family: arial;">Pure</em><span style="font-family:arial;"> (also 1988). The European albums range in scope from hardcore EBM (so-called electronic body music) to more ambient instrumental tracks, while Pure revisits earlier recordings made in San Francisco. Live shows from this period usually saw Miller backed by various Tuxedomoon members including Steven Brown, Peter Principle, Luc van Lieshout and Bruce Geduldig.</span><br /><br /><span style="font-family:arial;">At the beginning of the 1990's Miller returned to the United States, first to New York and then back to California. Regrettably no further Minimal Man records appeared, and instead Miller worked in the movie business as a set dresser. Sometimes there were difficulties: "I invented Minimal Man as this wild person, and then I actualized it and took all kinds of drugs and stuff, because I felt guilty for not living up to this fiction."</span><br /><br /><span style="font-family:arial;">Patrick Miller was an artist of considerable talent, as a musician, as a painter, as a visual artist. His art was his life, and his life was his art. Passionate, empathetic and volatile, he died at his home in Eagle Rock, California on 14 December 2003.... His passing was marked not by one but two articles in the New York Times.</span><br /></div><br /><span style="font-family:arial;">James Nice</span><br /><span style="font-family:arial;">October 2004</span><br /><br /><br /><span style="font-family:arial;">Go to Minimal Man </span><a style="font-family: arial;" href="http://www.ltmpub.freeserve.co.uk/mmancat.html">catalog</a><br /><br /><span style="font-family:arial;">Return to </span><a style="font-family: arial;" href="http://www.ltmpub.freeserve.co.uk/ltmhome.html">LTM homepage</a>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com8tag:blogger.com,1999:blog-8229422.post-1140810648180063692006-02-24T11:50:00.000-08:002006-08-12T22:52:19.286-07:00Angus MacLise - "Astral Collapse" CD (review)<div style="text-align: left;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/4521/547/1600/angus_maclise.jpg"><img style="cursor: pointer;" src="http://photos1.blogger.com/blogger/4521/547/400/angus_maclise.jpg" alt="" border="0" /><span style="font-family:trebuchet ms;"><span style="font-family:trebuchet ms;"><em></em></span></span></a></div><div style="text-align: left;"><br /></div><span style="font-family: arial;font-family:trebuchet ms;" ><div align="left"><b><span style="font-size:130%;">Smothered Under <a style="color: rgb(255, 102, 102);" href="http://www.amazon.com/exec/obidos/ASIN/B00007FZHA/industrialmus-20">Astral Collapse</a></span></b><font><font> <font><font><em></em><br /><font><font><font><font><em></em></span></span></span></span></span></span></span></span><div style="text-align: right;"><div style="text-align: left;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><em></em></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><br /><em></em></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div><div align="justify" style="font-family:arial;"><div style="text-align: justify;"><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>For those of you who like </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-weight: bold;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Throbbing Gristle</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>, </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-weight: bold;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Coil,</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-weight: bold;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>William S. Burroughs</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>, </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-weight: bold;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Aleister Crowley</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>, magick and </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>experimental electronics</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>, this is right up your alley. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><br /></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div><span style="font-weight: bold;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><br /></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Angus Maclise</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font> was a composer, master percussionist, poet, mystic, calligrapher, occultist and former </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-weight: bold;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Velvet Underground</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font> member. His music runs the gamut of the experimental realm: drone, electronics & noise, tape cut-ups, spoken word, minimalism. Though he created a vast body of work from the 60's to 70's, it went unreleased, the master tapes sitting in a box in someone's closet. Only recently has his music been seeing the light of day via several releases on the Quakebasket label. The latest, </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-weight: bold; font-style: italic;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Astral Collapse,</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font> compiles his more electronic/noise workouts:<br /><br /><br />1. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-style: italic;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Smothered Under Astral Collapse</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font> - Angus recites his Tibetan Buddhist poetry over prepared tape cut-ups. His source material for the prepared tapes is Tibetan chanting and some odd drum loops. The way he manipulates it gives it a really churning, eerie feeling.<br /><br />2. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-style: italic;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>6th Face Of The Angel</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font> - Pure droning. 17+ minutes of transcendant, tape-delayed organ with little intricate change ups in oscillation and resonance.<br /><br />3. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-style: italic;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Beelzebub</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font> - This is the only percussion piece on the album. The way he plays the drums and then sonically treats the mix creates a feeling musique concrete or early electronic pulse music. it's very glitchy.<br /><br />4. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-style: italic;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Cloud Watching</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font> - a beautifully sinister piece. it's a murky blend of organic instruments that just twinkle and drone along in a hazy impressionistic cloud.<br /><br />5. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-style: italic;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Dracula </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>- Trial by noise. Angus rips apart the air with an ARP modular synthesizer. This kind of destruction wouldn't be heard again until </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-weight: bold;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Coil'</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>s </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-style: italic;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Constant Shallowness Leads To Evil</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>.<br /><br />6. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-style: italic;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Dawn Chorus</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font> - several layers of prepared tapes cut up into a collage of white noise, eastern drone and field recordings from the East. Angus leads us back into more Tibetan poetry before letting us go.<br /><br />You can really hear the sound that </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>COIL</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font> would take on and expand. It foreshadows the concepts of </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-style: italic;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Moon's Milk: Spring Equinox</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font> or </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-style: italic;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Under an Unquiet Skull</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>, </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-style: italic;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Astral Disaster</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font> (they are eerily similar in more than just name) and </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-style: italic;font-size:100%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Constant Shallowness Leads To Evil.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>...to quote Jhonn Balance, Angus was a "liminal genius". </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size:100%;"><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><br /></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div></div></div></span><div align="left"><div style="text-align: left; font-family: arial;font-family:arial;"><br /><div style="text-align: left;"><div style="text-align: right;"><span style="font-style: italic;font-size:85%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font> ~Reviewed by: </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="color: rgb(51, 51, 51); font-style: italic;font-size:85%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>Philippe Landry</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-style: italic;"> </span><span style="font-style: italic;font-size:85%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>(2/24/05</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-style: italic;font-size:85%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>)<br /><br /></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div><div style="text-align: center;"><span style=";font-size:78%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>---------------------------------------------------------------------------------------------------- </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br /></div></div></div><span style="font-family: arial;font-family:arial;font-size:78%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><br /></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><div style="text-align: center;"><span style="font-family: arial;font-family:arial;font-size:85%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>**For more info, read an earlier </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-family: arial;font-family:arial;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><span style=";font-size:85%;" ><span style="color: rgb(0, 0, 0);">post focusing on the </span><a style="font-weight: bold;" href="http://undergroundmusiclibrary.blogspot.com/2006/02/drones-from-stockhausen-to-la-monte.html"><span style="color: rgb(255, 102, 102);">history of Drones</span></a></span><span style=";font-size:85%;" > and on the genre's creator, <span style="font-weight: bold;">LaMonte Young</span> <font> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-family: arial;">(</span><span style="font-family: arial;font-family:arial;font-size:85%;" ><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font>teacher/mentor to John Cale & Angus Maclise)</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><font><span style="font-family: arial;font-family:arial;font-size:85%;" >, and LaMonte's "The Eternal Theater", etc.</span><font><font><font><br /></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div></div>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com1tag:blogger.com,1999:blog-8229422.post-1140581167276979272006-02-21T20:06:00.000-08:002006-06-09T00:51:45.133-07:00FM EINHEIT (Einsturzende Neubauten) - INVISIBLE RECORDS - Martin Atkins (PiL, Pigface)<p style="font-family: courier new;"><br /></p><div style="text-align: justify; font-family: arial;"><span style="font-weight: bold;">Martin Atkins</span> has come a long way from being a fresh-faced 18 year old drummer miming on American Bandstand during a surprise appearance of <span style="font-weight: bold;">Public Image Limited</span>. When he left PIL, he started the <span style="font-weight: bold;">Invisible Records label</span> as his contribution to release independent music unseen in the mainstream. Through his <span style="font-weight: bold;">Pigface</span> band he has networked with a small army of freelance musicians from the underground rock and industrial scenes, so that now Invisible is the American home for <span style="font-weight: bold;">Test Dept</span>, <span style="font-weight: bold;">Mick Harris/Scorn</span>, <span style="font-weight: bold;">Skinny Puppy's Ogre</span> (aka 'R' with Atkins), and <span style="font-weight: bold;">Psychic TV's Genesis P Orridge</span>. After 10 years the label is celebrating their milestone with the humbly-titled the Lowest Of The Low tour, which will play three dates in Canada during April featuring Pigface (with <span style="font-weight: bold;">Gus Ferguson</span> from Test Dept), the long-anticipated Scorn, the techno/industrial group Not Breathing, the breakbeat-oriented Bagman, Vancouver's <span style="font-weight: bold;">Dead Voices On Air</span> and former <span style="font-weight: bold;">Einsturzende Neubauten</span> member <span style="font-weight: bold;">FM Einheit</span>. </div><p style="font-family: arial; text-align: justify;">FM Einheit or "Mufti" to his friends, will be coming with his first new band since he left Neubauten during the sessions for their boring 1996 album Ende Neu. FM had been the chaotic element in Neubauten for 15 years, charging their live shows with an imposing physical presence by throwing himself into his drumming on metal percussion and amplified springs. With fellow percussionist, NU Unruh, he <span style="font-weight: bold;">invented custom-made instruments</span> and researched <span style="font-weight: bold;">unique sound sources</span> — even using his fists to thump out a rhythm on Blixa Bargeld's chest for the track "Thirsty Animal." </p><p style="font-family: arial; text-align: justify;">"To rebuild music in a new way was the thing that I was most interested in Neubauten," he said from rehearsals in his Steinschlag ("stone beat") studio in Bavaria, in Southern Germany. "To do something and in the next moment just to let the whole thing collapse and look at it from a different angle. I started the original sessions for Ende Neu but I left during the recording. I just didn't see any stepping forward in Neubauten. It wasn't collapsing and rebuilding anymore. I just got a bit bored with it." </p><p style="font-family: arial; text-align: justify;">Now Neubauten's original spirit of experimentation can be heard on Einheit's work with Andreas Ammer, including the award-winning productions Apocalypse Live and Radio Inferno (an update of Dante's classic that features narration by BBC broadcaster John Peel). Since Einheit's involvement with Neubauten's 1990 collaboration on playwright Heiner Muller's postmodern version of Shakespeare, Die Hamletmaschine, Einheit received a number of commissions to do music for theatre, dance and radio. Over a period of five years he created music for Muller's adaptation of the Prometheus myth, Edward Bond's Lear, an interactive dance/theatre production Sensation Death, a version of the Faust legend (featuring Blixa as Mephisto!) and several others yet to be released. Invisible has just recently issued another Ammer/Einheit radio production, Deutsche Krieger ("German Warriors"), which was made for Bavarian Broadcasting. The project is an ambitious attempt to encapsulate 20th century German history in three personalities: Kaiser Wilhelm, Adolf Hitler and Ulrike Meinhof. </p><p style="font-family: arial; text-align: justify;">"The idea was to use original sound sources to let history speak for itself, because every time you open a book, all the information is channelled by the author. But while we worked on these three parts, we found we were researching the history of recorded media. So from the First World War you have gramophone discs based on the invention of Thomas Alva Edison. And from the Second World War you have recordings that were played on the radio. And the third part was from TV." </p><p style="font-family: arial; text-align: justify;">Like Radio Inferno, Deutsche Krieger is a mix of spoken word, quoted music and original sound. Although it is in German the disc is nevertheless interesting for the research into the broadcast sources: in the case of part one, "Kaiser Wilhelm Overdrive," speeches were recreated after the fact; part two "Adolf Hitler Enterprise," contained equally fake reports from the war fronts, including bogus newscasts from submarines done War Of The Worlds-style in radio studios. Ammer/Einheit react to this fake history with their editorial selection of backing music and by putting re-edited words in the mouths of the speech makers. </p><p style="font-family: arial; text-align: justify;">"It was no problem to get the commission to do the first and second part, but when we wanted to do the third part about the Baader-Meinhof terrorists, which for us was most important because it was the part of history we had lived through, then we got a lot of problems. Nobody wanted to broadcast a piece about the Baader-Meinhof. This is something that makes you think."</p><p style="font-family: arial; text-align: justify;">Ulrike Meinhof was a '60s social activist who got caught up in the student protests against the imperialist war in Vietnam. When the German police fired on, and killed some protesters, she and the Baader group went underground and began a series of actions that included bombings and bank robberies. </p><p style="font-family: arial; text-align: justify;">"I remember it very well, because I was born in 1958, and they died (in jail) in 1977. The whole state of Germany was in hysteria. The media coverage was really oppressive and frightening. I remember my mother would say, 'if you don't go to sleep Ulrike Meinhof will come and get you.' People went in the street to celebrate after it was known they were dead — 'great, now we've got those pigs and they're dead.' It was quite difficult to get the original voices of the terrorists when they were underground. Of Baader, for example, there is nothing. Meinhof did a lot of TV and radio features before she was underground. She would say things like 'if you don't have the possibility to be on TV everyday, if you don't have the possibility of mass media, then why don't you use the only possibility you have, which is go on the street and take direct action.' So at that point she was sort of mixed, she would be sympathetic, but she didn't say you have to bomb. If you want to change something you have to be really radical about it, but I can't sympathise with killing people that aren't responsible. The right way is to change yourself and act in a new way." </p><p style="font-family: arial; text-align: justify;">On the way from Invisible is Ammer/Einheit's Odysseus 7, as they take the Greek epic into outer space! Music from Einheit's new band of little-known Swiss musicians (including a second drummer, female singer and human beat box) will be released later. </p><p style="font-family: arial; text-align: justify;">----------------------------------------</p>Industrial::Music::Libraryhttp://www.blogger.com/profile/09989087704133738444noreply@blogger.com2