ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/nm-list/archive/nm-list.9601

Internet Message Format | 1996-01-30 | 52.5 KB

From: [e-mail] (Ryan G. Pals)
Subject: C.C.C.C.
Date: 01 Jan 1996 08:06:22 -0500

I recently asked about essential noise recordings, and although
I got a lot of interesting suggestions, I think I need to clarify
one point: I'm seeking 'power electronics'...full out noise assaults.
Thanx.
On my own, I picked up CCCC's "Loud Sounds Dopa"...great stuff!


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From: Gabriel Noah Fowler <[e-mail]>
Subject: Re: Thee Essential
Date: 01 Jan 1996 15:46:10 -0500 (EST)

On Tue, 26 Dec 1995, Ryan G. Pals wrote:

> I've been stumbling about the "noise" genre for over a year now,
> with albums by Merzbow, Aube, :Zoviet*France: and maybe a couple
> of others. I've come to the conclusion that this is really spiffy
> stuff, so just what are some truly essential recordings I should
> pick up? The best albums, compilations, what have you...
> Thanx...

I enjoy all of the stuff you've mentioned, and think you might also like
some of these gems:
- -- Lull"Dreamt About Dreaming" and "Cold Summer" cds
   guitar-levitation my Mick Harris, former drummer of Napalm Death
- -- Gate "America" and "Metric" lps, "Golden" The Dew Line" and "Lounge" cds
   Michael Morley of the Dead C goes apeshit in a closet with a detuned
guitar, a broken microphone, and apx. 220 volts of electricity.
- -- Lee Ranaldo "Scriptures of The Golden Eternity" "From Here To
Infinity" and "Broken Circle" cds as well as several seven inches
   The coolest guy from Sonic youth gets lost at sea and turns up the
Marshall stack to attract the atention of passing airplanes.  My landlady
hates it.
- -- P. Children "Documentation 1987-1992" cd
   Breaking lightbulbs, mutating loops, and existential industrial fun at
your fingertips.  Einstrunde Neubauten if they were from London and
didn't lift weights.
- -- John Cage: any cds on the German Wergo label
   He's the inventor of this shit.

Dig it.


Gabriel Fowler
[e-mail]



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From: [e-mail] (David Watson)
Subject: Boredoms Discographies Available!
Date: 01 Jan 1996 19:14:13 -0500

If you would like a copy of the Boredoms discgoraphy (~16k) or the Boredoms'
side projects/cameo apprearance discography (~36k), or both, please E-mail
me and I'll E-mail it to you.  I'm always looking for updates and corrections.

- --
Dave Watson, Severed Heads Liberation Front (Re-release the _Stretcher_ EP!)
Frezier Balzoff (Ottawa), Ontario, Canada  [e-mail]
           "A man is measured by the depth of his anger."--Eddie
ONTARIO--Where FASCIST PRAGMATISM and DEFICIT HYSTERIA pass for COMMON SENSE.


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From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Boredoms Discographies Available!
Date: 02 Jan 1996 08:27:40 -0800

    Hi Dave,

On Mon, 1 Jan 1996 19:14:13 -0500  [e-mail] wrote:
>
> If you would like a copy of the Boredoms discgoraphy (~16k) or the Boredoms'
> side projects/cameo apprearance discography (~36k), or both, please E-mail
> me and I'll E-mail it to you.  I'm always looking for updates and corrections.

If you want feedback on Y. Eye appearances, send me the full stuff!

    Patrice.


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From: [e-mail] (Joseph Mahoney)
Subject: summa
Date: 02 Jan 1996 10:38:37 -0800

Highlights/discoveries of '95, in no particular order.

1. Henri Duteilleux, "L'Arbre Des Songes". Isaac Stern w/ Orchestra
National de France. French master's startling hybrid tone poem/
hypo-violin concerto, full of alienating thematic twists and turns that
do their work and step back, the only path to serenity. Nicely
straddles you both ruggedly American and Euro-existential. It's got
this four-note motive that will never leave you ever.

2. Wayne Shorter, "Schizophrenia". Hope everyone's stocking came w/
lots of Blue Note reissue wonderama. But what the fuck happened to Wayne?

3. Pavement, "Wowie Zowie". Rocks kind of.

4. Sonic Youth, "Washing Machine". Also r.k.o.

5. Phillip Glass, "Belle et la Bette". R.k.o.

6. Roscoe Mitchell Quartet, "The Flow of Things". Art Ensemble's one
bona fide genius in a setting w/ some real players including the late
Steve McCall on drums. Not another act of Coltrane ventriloquy,
this is where the all-seeing eye was pointing in mid-67. Really.

7. Galina Ustvolskaya, Various. Septegenerian ex-lover of Shostakovich
is beginning to make some dents, including, I hear, an all-Ustvolskaya
night at Alice Tully hall sometime in April.

8. J.S. Bach, "Brandenberg Concertos 1-6", European Chamber Orchestra
conducted by Benjamin Britten. Absolutely cranking performances of
these masterworks from the greatest composer who ever lived (the one
thing all nerds can agree on, right?); recordings are from the late
sixties, flush w/ the kind of enthusiasm everyone thinks John Eliot
Gardiner invented. Music that pleases in every possible way,
nerd-wise, art-wise. Plus it's a London 2-Decker.

9. Steelwool Trio, [eponymous]. Ken Vandermark w/ Curt Newton (drummer
from Debris) and a bass player at some kind of idiosyncratic human limit.

10. Quintron, [eponymous; vinyl only I think] Wacko one man Sun Ra Arkestra
from Chicago; plays organ, puppets, "sings", bobs and weaves. It's alive, yea!



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From: [e-mail]
Subject: nm-list web page?
Date: 03 Jan 1996 14:07:02 PST

I'm putting together a Web page for my radio program, and was
wondering whether there is an "official" page for the nm-list,
something with subscription information and maybe archives?

Anyone else with a web page who wants to send their URL will get it
glommed onto my Philharmonic Links page.  nuff said.

I guess the post-classical list died a lingering death because I
haven't had mail from that direction in ten months.  Separatists!

Dan Y.
Bones: Ohmigod, Jim!  What happened to your face?
Spock: It appears to have been floating-point roundoff in the
       transporter.


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From: [e-mail] (jetman)
Subject: Re: summa
Date: 04 Jan 1996 01:38:06 GMT

Joseph Mahoney wrote:

>Highlights/discoveries of '95, in no particular order.
>
>8. J.S. Bach, "Brandenberg Concertos 1-6", European Chamber Orchestra
>conducted by Benjamin Britten. Absolutely cranking performances of
>these masterworks from the greatest composer who ever lived (the one
>thing all nerds can agree on, right?)
>
>


You mean Bach is "the greatest composer who ever lived," or Benjamin
Britten??

I'm not a nerd, but I like Bach, but maybe not best. Then again it would be
kinda cool if someone actually _thought_ that B. Britten was greatest!!!

Jeff Talman
NYC-USA
[e-mail]


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From: SUGAR in their vitamins? <[e-mail]>
Subject: KFJC UK Tour '96
Date: 03 Jan 1996 23:10:22 -0800 (PST)

apologies for the wide distribution. however,
people in the SF bay area will probably be
interested in this...

hasta.




Press Release
KFJC 89.7 FM
12345 El Monte Road
Los Altos Hills, CA  94022

Contact:
Nina Price
KFJC Publicity Director
[phone]
FOR IMMEDIATE RELEASE

BEVIS FROND JOINS THE "KFJC U.K. TOUR '96"
LIVE REMOTE BROADCASTS FROM THE U.K. IN JANUARY


LOS ALTOS HILLS, CA -- True to its mission to expose
listeners to music they can not hear anywhere else,
KFJC will feature a series of live broadcasts from
the United Kingdom starting on January 6th. Featured
will be artists who have not performed in the
United States: The Shadow Ring, Ramleh and Ascension.
KFJC is able to provide these unusual live broadcasts
using digital technology purchased with funds donated
by listeners.

The schedule of broadcasts is as follows:

Saturday January 6th noon to 1:30 p.m. The Shadow Ring
Sunday January 7th 3 to 4:30 p.m. Ramleh
Saturday January 13th noon to 1 p.m. Ascension
Sunday January 14th noon to 2:00 p.m. Bevis Frond

The Shadow Ring is a deconstructionist folk/pop/improv
outfit, Ramleh is an experimental rock group, and
Ascension is a critically acclaimed free improv duo.
The Bevis Frond are authentic '60s psychedelic stylists.

For the most current information on KFJC's U.K. Tour '96
or a discography of each of these bands and additional
background information check KFJC's web site, located
at: http://www.cygnus.com/kfjc/. Additional U.K. band
broadcasts are being negotiated.

To reach the KFJC Publicity Department, call 415-949-7099
or send e-mail to: [e-mail].






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From: [e-mail] (Barking Legs Theater)
Subject: CHEMICAL IMBALANCE NEW ISSUE IS AVAILABLE
Date: 04 Jan 1996 15:37 EST

ANNOUNCING CHEMICAL IMBALANCE VOL.3 #1--140-page magazine with 68-minute CD

    Finally published, only three years in the making!
    A check for $9.95 made out to Chemical Imbalance Magazine will get you a
copy sent first class within a week of receiving your check. The address is
at the very end of this message.

NOTE: If you are a subscriber to Chemical Imbalance, please contact me,
because I need to verify your address. Already, subscriber copies have been
coming back to me because people have moved in the time since I've put out
the previous issue!!! I apologoze for any subscriber inconvenience...

    Vol. 3 #1 contains the compilation CD we put together a lil while back with
unreleased stuff by LOU BARLOW, RED RED MEAT, THE GRIFTERS, JANE
MARTIN, KREAMY 'LECTRIC SANTA, PALEFACE, RUBY FALLS, SLEEPYHEAD,
BRIDGES, BUILT TO SPILL, KICKING GIANT WITH SUE P. FOX, THE MEKONS,
THE SPITTERS, HOT MONKEY, HAZEL, IVAN LERNER, SCRAPING TEETH,
WILLIAM PATTON, LETTUCE LITTLE, JOHN B., & even more. From now on, each
issue will have a full-length CD, stapled to the front cover in a mylar bag.

    The 140-page mag.--full-color cover, B&W insides like always--features
unpublished
interviews with Gram Parsons (Reprise A&R guy, 1971/2) and Faust (Chris Cutler,
1985); as well as excerpts from the famous "ouija" interview with M. Bolan
of T. Rex
conducted by the Chicago queerlit/rockzine The Gentlewomen of California.

    Other features include: Pills & Shit by Lenny Bruce, The Anonymous Museum, The
Grifters, David Rattray, "The SAcred Conspiracy" by G. Bataille, Demi Semi
Quaver by J. Martin, Steven Cerio, Harry Smith,
Freakwater, Sadie Benning interviewed by M. Ewert, Derek Jarman, Hipster S&M
Clubs in Manhattan by Carl Watson, Pell Mell,
Sleepyhead, Thomas Pynchon, Mary Lou Lord, Magnetic Fields, much more.

I didn't make too many of these, and am dealing    with very few distributors,
so please order one today if you want one.

    Yours,
    Mike McGonigal
    Editor/Etc., Chemical Imbalance Magazine
    *Exploring The Spiritual in Rock Since 1984*
    new address: PO Box 11435 Chattanooga  TN  37401
    phone/ fax(stores/serious inquiries only): [phone]
    TEMPORARY e-mail: [e-mail]



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From: Ricardo Wang <[e-mail]>
Subject: Re: CHEMICAL IMBALANCE NEW ISSUE IS AVAILABLE
Date: 04 Jan 1996 17:19:54 -0800 (PST)

the checks definately in the mail on this one, but i for one will REALLY
miss the 7"s that used to come with CI, more songs and easier to play
aside, those were some of the best obscure/experimental slabs of vinyl to
come out in the dawn of the cd age. sigh. - ricardo wang


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From: peter conheim <[e-mail]>
Subject: Ubzub and Whipped - Stork Club to-nite 1/5/96
Date: 05 Jan 1996 11:08:24 -0800 (PST)

Those demented creatures known collectively as Ubzub celebrate the New Year's
day release of their wonderous ALIEN MANNA FOR SLEEPING MONKEYS CD with a
show at Oakland's Stork Club tonight, with the band Whipped opening.
10pm approximate start, 380 12th Street near Webster, downtown.

If you hate advertisements, skip this paragraph:
ALIEN MANNA FOR SLEEPING MONKEYS is available for $11 postpaid from
ELECTRO MOTIVE RECORDS  P.O. Box 14461  Berkeley, CA  94712-5461

PC


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From: B BRACKEN <[e-mail]>
Subject: from faust, can, amon duul, this heat, to now...
Date: 06 Jan 1996 12:45:21 -0500 (EST)

Im going to do a slight historical look at the musics of the likes of
Faust, Can, etc--to now with the l,ikes of Brise Glace, Organum, Jim
O'rourke, and other projects similar.  I am concentratin on the more
experimental aspects of this music, and veering away from the not so
inspirational Amon Duul albums (but obviously including The Yeti, and
Phallus Deu, etc) and the sub good Can albums.  I am especially looking
at the modern recordings, alot of the stuff on matchless, Table of the
Elements, etc.  But, I am looking for suggestions on other things to
play, and talk about, as well as ideas for source material.  I have a
couple of interviews etc, as well as good liner notes in some of the
faust stuff, and tony conrad stuff.  If anyone has anything at all that
they think is relevant, please reply via E-mail to me.  It will be a
three hour show, and i want to do a pretty concise historical,
concentrating on where the music has gone now.  Ill be taping it, so I
can make copies for those who want to send me tapes.  Ill let you all
know when it will be airing.  Unfortunately, it will be airing on a
station in the middle of michigan, quite far away from anybody who would
be interested!!!  Well, thanks ahead of time,  Thought I would pool as
much information together as possible.  Thanks

- -ben



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From: B BRACKEN <[e-mail]>
Subject: Re: from faust, can, amon duul, this heat, to now...
Date: 06 Jan 1996 19:51:29 -0500 (EST)

On Sat, 6 Jan 1996, SUGAR in their vitamins? wrote:

>
> just last week, i discovered that the
> Captain Trip record label in Japan
> re-issued the very first Amon-Duul album.

yea, and its great...some dont like it, because it is almost trying to be
like african drummers on acid or something, which is a bit of a joke
compared to the drummers who are actually skilled technichly. (I dont share
these narrow views particularly, but...).  Its value is in the fact that it was
done, and the simplicity of it.  For its time it was eye opening to alot
of people, and continues to show people the roots of this strange and
beautiful music.

I might add that , I believe that it is captian Tripps, re-issued
"Paradisewarts", which holds up to thier better stuff.  Its a pricey
import, but worth it.

- -ben



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From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: from faust, can, amon duul, this heat, to now...
Date: 06 Jan 1996 13:01:27 -0800 (PST)

On Sat, 6 Jan 1996, B BRACKEN wrote:
> I am concentratin on the more
> experimental aspects of this music, and veering away from the not so
> inspirational Amon Duul albums (but obviously including The Yeti, and
> Phallus Deu, etc)

just last week, i discovered that the
Captain Trip record label in Japan
re-issued the very first Amon-Duul album.
this is the original group who were
self-professed to be some sort of
art/politics collective and not to be
confused the offshoot band Amon-Duul II
(followed later on) who concentrated on
psychedelic rock-influenced music.

i had never heard this first album
before and was completely bowled over
by it. Steven Stapelton put this album
down on his "list" of 300 artists that
influenced him in the "Chance Meeting on a
Dissecting Table..." Nurse With Wound album.
and in fact, i think it was in the Audion
interview where Stapelton comments that
this is the album which perverted his brain,
changed his life and set him down on the
path of sin he's on now, etc...

having never listened to that album
before, i didn't know what to expect.
it sounds rather ritualistic, really.
there were seven people in the band (i
think that's the right number) three women
and the rest men. the music starts up
with six of them playing various drums,
congas and other percussion instruments
in this very simple but consistent time,
and just one lone guitar... the drums
come in, and they NEVER leave. even
when something like a piano phrase
washes in and comes to the forefront,
one can still hear the continuous and
consistent drum beats pounding strong
off in the back of the right channel!
it's clear now how much this album must
have profoundly influenced Stapelton.

if you can get ahold of this album, i would
highly recommend incorporating it into
your show somehow.

hasta.


Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.


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From: [e-mail]
Subject: 4 Cds for sale
Date: 08 Jan 1996 20:28:53 -0500

Prices include 1st class shipping in U.S.  Send e-mail if interested.

Bodychoke "Mindshaft" (Freek Records) $9
Mamoru Fujieda "The Night Chant" (Tzadik) $10
Multicide "Pathogenesis" (D.O.R.) $9
Psychic TV "Cold Dark Matter" (Transmedia) $7

Mike


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From: Seth Tisue <[e-mail]>
Subject: Opinions wanted
Date: 09 Jan 1996 16:53:56 -0600

I would very much appreciate reviews/descriptions/info on any of the
following:

Abe, Kaoru - Thursday Evening 1972            PSF     $17.50
Abe, Kaoru/Hiroshi Yamazaki - Jazz Bed (1971)        PSF     $17.50
Beequeen - Sugarbush                    Raum 312 $13.75
Haino, Keiji - 21st Century Hard-y-Guide-Man            PSF     $17.50
Fushitsusha - Hisou                    PSF     $17.50

== Seth Tisue <[e-mail]>


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From: Jeffrey Reid <[e-mail]>
Subject: Re: Opinions wanted
Date: 10 Jan 1996 12:41:22 -0800 (PST)

On Tue, 9 Jan 1996, Seth Tisue wrote:
> Beequeen - Sugarbush                    Raum 312 $13.75
>
What can I say about this?  It's very quiet and airy, very in line with
what a lot of people are calling 'ambient' music, but I don't
think that Freek & Frans see their material that way.  It has many
'industrial' touches with echoy scrapings and high pitched screeches on
some tracks, but usually presented in an unobtrusive, almost passive way
which is probably why they are often associated with 'ambient' music.
Some tracks are reminiscent of other's works (track 5, for example
reminds me a bit of early Nurse With Wound and New Blockaders) but on the
whole it is very much Beequeen.  If you liked Der Holzweg, Summer Rain, or
any of their other stuff you will probably appreciate this.  A good CD to
put on at 4am when you need to fill the empty, dark spaces of your life
with sound.

Jeff

======================================================================
Jeffrey G Reid                   [e-mail]
======================================================================
"O holy mathematics, may I for the rest of my days be consoled
 by perpetual intercourse with you, consoled for the wickedness
 of man and the injustice of the Almighty!"  -- Isidore Ducasse





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From: [e-mail] (ian obvious)
Subject: this heat, dome
Date: 13 Jan 1996 19:01:41 -0500

does anyone want to trade live/rare This Heat or Dome material?

- -ian



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From: Ricardo Wang <[e-mail]>
Subject: coca zine con review
Date: 13 Jan 1996 19:18:33 -0800 (PST)

sorry if any multi-listers get this twice.
well the beer was remarkably decent and cheap, which seth friedman of
factsheet five used as his keynote address. sleater-kinney rocked of
course, and half the audience was from olympia. i had dinner at the
crocodile where bloodloss was playing, and the crowd looked way more
seattlewood (i am coining that word here.) miss murgatoid is god.  she
produced the most amazing musical experience i have had since seeing
painkiller while breaking up with my wife, and that was zorn and laswell
and the drummer from nuclear assault and the loudest show i have ever heard.
this was one woman her accordian and effects pedals. and it wasn't that
loud. she gets more interesting effects from her set up than any synth
player i have ever watched. she's touring soon with blowhole, and i WILL
set up a show for her in oly. and i bought her shirt.  vaginal cream
davis was more hardcore punk rock than i expected him to be, and in zz
top drag at that. good "white militia" back up group. very good satire,
not brilliant music but cool. the con itself was kind of boring for me.
lots of people sitting at tables selling zines for more than normal (the
exceptions were 10 things and the arm's extent, but i contribute to those
and get them free anyway.) the panels were a little more interesting. i
finally met dan halligan who definately made the most sense on the panel
he was on. there was actually a woman on it who does some type of zine
distribution thing or has a store (i didn't catch it) who was whining
about how stapling the binding of a zine is so passe. without the punk
and noise i think i would have been sorely dissappointed with the whole
thing, but friday was really fun. - ricardo wang


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From: Kevin Goldsmith <[e-mail]>
Subject: new music stuff
Date: 15 Jan 1996 13:41:03 TZ

The new cassette EP from Intonarumori, Sound Collages 1991-1994 is
available now from Unit Circle Rekkids for $5 including postage.
Somewhat noisy, somewhat ambient, this 5 song cassette contains tracks
previously only available on RMI #1 and #3.

For those interested in darker music, the new single from Pittsbugh's
The Garden is now also available.  The Garden has been playing
wonderfully textural and beautiful gothic music together since 1985 and
their craftsmanship shows.  This 7" vinyl is available for $3.50
including postage also from Unit Circle Rekkids.

Unit Circle Rekkids is also working on it's first CD compilation which
will include many dark and experimental projects.  for more info or to
submit check out the label web page or send mail to [e-mail]

Unit Circle Rekkids home page:
http://www.amz.com/labels/UnitCircle/


    Kevin




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From: Noel Christopher Morrison <[e-mail]>
Subject: london here
Date: 16 Jan 1996 16:18:38 +0000 (GMT)

hello,
i've just moved to london and am completely in the dark as to good
stores/venues for this listy types.  if anyone could help me out it would be
greatly appreciated...thanks  --Noel

reply to: [e-mail]


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From: Malcolm Humes <[e-mail]>
Subject: (no subject)
Date: 16 Jan 1996 20:36:50 -0800

Can anyone help this person in Singapore find more info
on Luigi Nono? I seem to recall some interesting posts here on
the topic before. Please reply to hoh chung shih <[e-mail]>
directly, as this person isn't
on nm-list.

  - Malcolm

>Date: Fri, 05 Jan 96 12:05:43 -0800
>From: hoh chung shih <[e-mail]>
>To: [e-mail]
>
>Can you help me in finding resources on Luigi Nono?
>Thank you.
>
>
>
>



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From: Paul Vercellotti <[e-mail]>
Subject: Re: london here
Date: 17 Jan 1996 03:33:39 -0600 (CST)

On Tue, 16 Jan 1996, Noel Christopher Morrison wrote:

> hello,
> i've just moved to london and am completely in the dark as to good
> stores/venues for this listy types.  if anyone could help me out it would be
> greatly appreciated...thanks  --Noel

I keep a web page of record shops all over the world, grouped by geography,
that specialize in indie/import/hard-to-find things (with preference to
experimental and related areas); It's at
http://bit.csc.lsu.edu/~vercello/rstores.html
I'm always looking for new shops, so if anyone has a favorite shop for
the more unusual musics that's not already on the list, feel free to let
me know about it and benefit travelers everywhere.  There are several
shops listed for London.

- -Paul Vercellotti
 [e-mail]



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From: [e-mail]
Subject: Philharmonic Infierno on the web.
Date: 18 Jan 1996 12:44:55 PST

With the last glitches finally worked out of our KUCI server, my radio
program web page is now on-line:

        http://www.kuci.uci.edu/~dany/philharmonic.html

Included is the text of a recent interview with Kronos and a lot of
nm-listy links.  If you've got a page to link, drop me a line, and
feel free to link my page into your documents wherever you want.  The
URL should be stable for a long time.

Hope ya like it...

Dan Y.
My school colors were clear.  We used to say, "I'm not naked, I'm in
the band."                              -- Steven Wright


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From: B BRACKEN <[e-mail]>
Subject: Organum
Date: 19 Jan 1996 12:55:28 -0500 (EST)

hello,
Just a quick question, if anyone knows.
What is the "lineup" (If I may be so brash) of Organum's "Desola" 3" mini cd?
I bought it and think it is phenominal.  Ive gotten more out of that cd
than lots of other full lengths bought this year.

just curious,
- -ben



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From: B BRACKEN <[e-mail]>
Subject: Brotzmann/tangerine dream??
Date: 19 Jan 1996 13:01:15 -0500 (EST)

I recently bought "No Nothing" (fmp), Peter Brotzmann's solo recording ,
the latest instalment I believe, and the liner notes, if I recall right,
mentin that he played with Tangerine Dream.  I have a strange time
picturing this, due to my great appreciation for brotzmanns music, and my
almost sceptical sneery attitude about tangerine dream.  But, it piqued
my curiosity.  Does anyone know of any recording date with such a
happening?  Bootleg, import, otherwise?  Well, thanks...

er,
- -ben



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From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Brotzmann/tangerine dream??
Date: 19 Jan 1996 12:17:08 -0800

On Fri, 19 Jan 1996 13:01:15 -0500 (EST)  [e-mail] wrote:
>
> I recently bought "No Nothing" (fmp), Peter Brotzmann's solo recording ,
> the latest instalment I believe, and the liner notes, if I recall right,
> mentin that he played with Tangerine Dream.  I have a strange time
> picturing this, due to my great appreciation for brotzmanns music, and my
> almost sceptical sneery attitude about tangerine dream.  But, it piqued
> my curiosity.  Does anyone know of any recording date with such a
> happening?  Bootleg, import, otherwise?  Well, thanks...

If you think about the early Tangerine Dream, it is not so surprising.

I also remember that Brotzmann played a little bit with TD; but I don't
think there is any record to document that. Anyway, I will check my
database to be more assertive :-).

    Patrice.


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From: [e-mail] (ian obvious)
Subject: Ligeti/Bartok string quartets
Date: 20 Jan 1996 00:50:48 -0500

My introduction to Ligeti was through his apparently non-representative
First String Quartet (1954), which has stayed with me longer than any of
the later material I've heard.  And so I've since sought out Bartok's
string quartets, especially the third and fourth which strike me in much
the same way.  I'm looking for any suggestions people might have of
composers contemporary to either Bartok or Ligeti who were working in the
same vein, or else more contemporary composers who've drawn influence from
these specific works.

Thanks, ian.



-------------------------------------------------------------------------------

From: "Joseph Zitt" <[e-mail]>
Subject: Zorn scores or game rules?
Date: 20 Jan 1996 19:57:31 +0000

(I faintly remember having asked this a long time ago, but...)

Have any of John Zorn's scores or game-rules been published? I've put
a vocal ensemble together here in Dallas, and am interested in trying
out Cobra or something like it (by Zorn or by others). Any pointers?
- ---------1---------1---------1---------1---------1---------1----------
|||/  Joseph Zitt ==== [e-mail] ===== Human Systems \|||
||/         Organizer, SILENCE: The John Cage Mailing List         \||
|/<A HREF="http://www.realtime.net/~jzitt/">Joe Zitt's Home Page</A>\|


-------------------------------------------------------------------------------

From: P Rebelo <[e-mail]>
Subject: Re: Zorn scores or game rules?
Date: 21 Jan 1996 19:32:35 +0000 (GMT)

On Sat, 20 Jan 1996, Joseph Zitt wrote:

> (I faintly remember having asked this a long time ago, but...)
>
> Have any of John Zorn's scores or game-rules been published? I've put
> a vocal ensemble together here in Dallas, and am interested in trying
> out Cobra or something like it (by Zorn or by others). Any pointers?
> ---------1---------1---------1---------1---------1---------1----------
> |||/  Joseph Zitt ==== [e-mail] ===== Human Systems \|||
> ||/         Organizer, SILENCE: The John Cage Mailing List         \||
> |/<A HREF="http://www.realtime.net/~jzitt/">Joe Zitt's Home Page</A>\|

From what I know Zorn does't want to publish any of his "game scores" - I
suppose he likes to keep the fun to himself!!!
Anyway, if anyone finds out anything about these scores I would also be
interested to know.

Pedro Rebelo
http://www.uea.ac.uk/~q503



-------------------------------------------------------------------------------

From: Ricardo Wang <[e-mail]>
Subject: Old Time Relijun 1/29
Date: 21 Jan 1996 17:27:01 -0800 (PST)

some of you probably would be into this show. some not. i am.
sorry if you get this twice.

======================================================================
-------------------------------------------------------------------------------

From: Arrington Hughes-Tremper <[e-mail]>
Subject: Old Time Relijun 1/29
Date: 21 Jan 1996 15:07:50 -0800 (PST)

monday, january 29th at nine pm at the midnight sun, n.113 columbia,
downtown olympia: Cricketer, Arrington de Dionyso and the Old Time Relijun,
Sandman, and the Moo Cow Trio.
Cricketer, from brooklyn, is a side project of linda hagood's. some of
you may be familiar with linda's other band, Smack Dab, notable for
linda's puzzlingly high voice, playful and catchy lyrics and bizarre
chordal and rhythmic structures. Their new C.d. is already finished, but
since they broke up with homestead they haven't found a label to put it out.
    If you are not familiar with the music of A.de D. and Old Time
Relijun, you have been missing three of the most dynamic creative
musicians in town. featuring upright bass, drums, contrabass clarinet,
and crazy tuvan throatsinging. sandman of course is the unforgettable
country western hip hopper radiating nothing but sincerity in his form
and content, and the moo cow trio do some kind of a tom waitsy music
thing using joyce's FINNEGAN'S WAKE as source material. as the show is on
a monday night, the admission is pay what you can, to encourage the
largest audience for these fine young geniuses.



-------------------------------------------------------------------------------

From: Bob Boster <[e-mail]>
Subject: "Blue" Gene Tyranny
Date: 22 Jan 1996 10:13:19 +48000

The Mills College Music Dept. and the Center for Contemporary Music present:

            "Blue" Gene Tyranny

            8pm, Friday Jan 26
             Mills College Concert Hall
           5000 MacArthur Blvd, Oakland, CA

$10 general, $5 non-Mills students, senior citizens, disabled, alumnae
            Concert Line: 510-430-2296

      Amazing performer whose work blurs the boundaries between
"popular" and "serious" music performing a new piece plus works for solo
      piano, pre-taped electronics, and a range of other sounds.


-------------------------------------------------------------------------------

From: Miles Egan <[e-mail]>
Subject: Tzadik
Date: 24 Jan 1996 10:59:09 -0700 (MST)

    I'm quite impressed with Fujeida's _The Night Chant_ on Tzadik
and I'm planning on getting my fingers quite a bit wetter.  What else on
this label measures up?


-------------------------------------------------------------------------------

From: "J. Exby" <[e-mail]>
Subject: Re: D. Menche Live
Date: 24 Jan 1996 15:47:10 -0700 (MST)

On Fri, 15 Dec 1995, Benjamin T Drucker wrote:

> Seth Veitzer <[e-mail]> asked:
>
> >obmailorder:  Daniel Plunkett from ND Zine emailed me and said
> >that they have all four of the  new Trente Oiseaux CDs, which are
> >RLW, Francisco Lopez, M. Behrens, and Daniel Menche.  Has anyone
> >heard the Behrens or the Menche?
>
> I saw Menche last month.  He had a tabletop of electronics that
> appearently required constant calibration.  In his hands was what
> looked like a jumble of brass coins, connected to various table-top
> devices via guitar cords.  He woried the coins with his fingers,
> producing a dark echoing rumble.  Occasionally, he would produce a
> pumice stone from some pocket of his all-black clothing and scrape the
> coins.  This made a hollow, dry and ceramic sound.  Menche maintained
> a reverberating growl, punctuated by ocassional violent coin-shaking,
> for about forty minutes.

I like replying to email a month later.  it's timeless.

anyways on the aspect of live Daniel Mensche-  I've seen him once in SF
and was blown away, and since have been gobbling up every single on of
his releases.  A couple I feel should be noted are:

Daniel Mensche "Blood Sand"  (Noise)
this is a tape put out by the nice guy Fujui Wang who is Noise Records,
now located in SanFrancisco.  It's a tape of 2 (i believe) Live
performance and totals around 43minutes I think.  Each of the tracks
captures the live lice scratching and rocky dust of Mensche's work, a
traversing wave of seemingly alive granite noises.  it's all beut.
Dark blank packaging and steep paper (ala  GROSS releases) makes it an
allround winner.
XBScale = +0.6


there's also a new
Daniel Mensche "Legions in the Walls" cd (German TOC)
which is also selections of his live shows (remixed?)  and is out
somewhere, but I don't have my copy yet.   I'm sure it's as perfectly
grey and thick as his other cds.


::j



-------------------------------------------------------------------------------

From: Bob Boster <[e-mail]>
Subject: A day of Sound (fwd)
Date: 24 Jan 1996 15:00:40 +48000

======================================================================
-------------------------------------------------------------------------------

From: John Bischoff <[e-mail]>
Subject: A day of Sound (fwd)
Date: 24 Jan 1996 10:03:14 +48000

======================================================================
-------------------------------------------------------------------------------

From: Jason Reinier <[e-mail]>
Subject: A day of Sound
Date: 24 Jan 1996 07:01:25 -0800

Dear SC96 host committee members:  Enclosed is a call for sound recordings
to be part of a piece called "A Day of Sound" to be presented at Sound
Culture 96.  Please look it over and pass on to interested parties. Please
post on BBS's or WEB pages as well.

Make a recording and send it in!  I am hoping to receive many sounds to
incorperate into the mix.  Please RSVP if you intend to participate.
Thanks, Jason Reinier

"A Day of Sound"
A recorded work to be presented at SoundCulture 96
Produced by Jason Reinier,
Sponsored by the Nature Sounds Society

All sound enthusiasts and recordists:
Recordings needed for "A Day of Sound"

Jason Reinier, Chair of the Nature Sounds Society, will be producing an
event called "A Day of Sound," which will be composed of specific
recordings made on the same day  by a crew of recordists all over the
world.   Sound recordists will be asked to go out and record on a specific
day, Saturday, February 17, 1996.   Recordings will then be sent to Jason
Reinier at the address below.  The recordings will be previewed and mixed
into a seamless piece where the individual recordings will be laid out
chronologically over the span of the day lasting approximately 50 minutes
for radio broadcast and 20 minutes for concert performance. The length  for
Listening Room presentation will be determined by available time but will
attempt to allow for a more extended performance.

Individual recorded submissions should be 1-2 minutes in length and should
represent the recordist's interpretation of a particular location at a
particular time.  Entries should be continuous and uninterrupted for at
least 1 minute.  (Please record time and location on the recording;
cassette or DAT tape ok).  Although the focus should be on nature sounds,
other naturally occurring sounds are also encouraged.  The primary goal of
the piece is to create a sonic picture of a day from a variety of different
viewpoints (sound points).  The entire piece will be broadcast on KPFA,
will be played in the SoundCulture 96 listening room and excerpts will be
played in a concert at the Oakland Museum.

Please submit sounds recorded on Feb 17, 1996 to be included in the mix by
March 1,1996 to: Jason Reinier, 1523 Treat Ave, San Francisco, Ca 94110

Recordists will be credited in all written materials pertaining to the
performances of "A Day of Sound."  Please send a self-addressed stamped
envelope and an extra blank cassette or DAT tape for return of materials
and a copy of the completed work.  All recordings remain property of
individual recordists.

For further information on "A Day of Sound" please contact Jason Reinier at
[phone], [e-mail]

======================================================================
Catherine Girardeau and C. Jason Reinier
Earprint Productions -- Soundworks
1523 Treat Ave.
San Francisco, CA 94110
415/821-4264
[e-mail]





-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Zorn scores or game rules?
Date: 24 Jan 1996 18:04:36 -0600


When we (Mills College Contemporary Ensemble) did Zorn's "Bezique" back in 1992 or so, Zorn Fax'ed the score to Willie Winant for us.

Of course Willie was also playing on a San Francisco Great American Music Hall date with Zorn around the same time, in a superstar double trio for "Xu Feng", so John flew into town, but he didn't get to see our performance though. I think John's "Xu Feng" was actually a couple of weeks before our "Bezique".

I had a nice long talk with him as I drove him over the Bay Bridge. Although he may look like a "punk" and his music may often sound totally irreverent, he is quite articulate and wants to be recognized as a "composer" in the great tradition of 20th century music.

With his game strategy pieces, starting with Cobra, John Zorn actually invented a whole new way of making music with a group of people. His concept is revolutionary in its freshness but it is also PRACTICAL! It WORKS! and produces wonderful performances, if the musicians and the prompter are tuned in to what is going on.

He's invented a new type of music which is not "through-composed" but is also not totally "improvised". He's invented a performance genre with multiple levels -- there's the strategy game going on among the players and the prompter, which is a visual theatrical spectacle to watch, AND there's also the music itself which is being produced by their instruments, which you can also just close your eyes and listen to.

The score is just a few pages of instructions -- what the prompter cards should look like (someone has to cut them out of cardboard), what the rules are (it helps to already be familiar with "Cobra" rules, because "Bezique" rules are an extensive elaboration/enhancement of them). "Bezique" needs a larger ensemble than "Cobra" did, just because of how lots of different combinations are possible. "Xu Feng" is specifically for a double trio (I got to watch Zorn teach it to the musicians at their soundcheck before the GAMH concert).

And actually for "Bezique", every one of the musicians is required to "compose" a little sequence of prompter cards plus instrumental combinations, on paper...... there are "intermissions" during which "gaffers" play incidental music, while the prompter asks some musician to step up and hand in their composed sequence, which then becomes the next segment of the performance...

A particular sequence will be a series of prompter card combinations, and musician combinations -- for example, "C major", "Rock", "Loud", "High notes", "Very fast", for a given named subset of musicians.

Or, a combination of prompter cards might be more Cobra-like, "Duets" or single notes or whatever they're called in Cobra language (i.e. every musicians plays one note, and it goes around the circle of musicians rapidly, for example), there are also specifications for a musician who might be supposed to interrupt what the others are doing and disobey the rules, etc. (a "spy" who has to wear a headband, it is tossed to them by the prompter).

"Bezique" also has three phases, I forget exactly, but in phase one, the musicians actually raise their hands, during the playing, and if the prompter calls on them, they give a silent hand signal indicating what they want to happen next..... but meanwhile they have to keep track of the playing that's happening because it might be their turn to play a note or something. This is also like Cobra.

Usually the prompter points out the players who are supposed to do the next thing, and once he's gotten their attention, he shows them the cards to tell them what to do, then he drops the cards to hit the table, which is the signal to GO.

In some of the things, a player is actually given the authority to point out what other players should play next.

But when the prompter drops the next card set to hit the table, it means to drop whatever you were doing before and GO on something totally new.

A segment from one set of cards can go on for minutes, or it can last a second or even less, depending on the prompter's whim.... if he thinks it is really grooving he'll let it go on, or if he's really getting into lightning speed hyper splices, he might to drop new cards as fast as he can...

In fact maybe phase one of Bezique is just this Cobra-like scenario? and phase two moves more into the pre-composed sequences that the musicians have written down on paper? I forget.

After phase three goes on for a while, the piece ends. You can go back and do it again, more than once, in the same concert, because it always turns out totally different each time.

There are differently-colored prompter cards -- ones that concern dynamics and tempo are one color, while specific ones for chords and styles are another color, and I think there's a third color too.

The musicians all have to memorize the hand signals, plus the meanings of all the prompter cards and the prompter's signals. They have to pre-compose the sequences. And while performing, they have to keep track of both the "game" aspect, AND the musical aspect itself.

It's really a very different skill set that is needed to play Zorn's music. You have to be very sharp, on your toes, you have to have all your chops, licks, cliches, for different styles, all ready to go at a moment's notice, and also be ready to instantly STOP at a moment's notice too. Plus you have to be raising your hand and fighting for the prompter's attention, at the same time as you are playing....

We found that more traditionally-trained "classical" musicians were inclined to freak out and lose it -- they just couldn't keep track of the "game" while they were playing. Also they would get upset if they had to suddenly stop what they were doing, if they were really getting into it.

Chris Koenigsberg
[e-mail]



-------------------------------------------------------------------------------

From: B BRACKEN <[e-mail]>
Subject: Games?
Date: 24 Jan 1996 23:25:09 -0500 (EST)

Thought I would open up some disscussion on a subject that has been
talked about lately...

Ok.

Games and music...What is this all about?
Zorn and his cronies really seem to like these types of things, opting to
use these forms of stimulation over other techniques...I mean...true,
lots of greats have done similar things...even Cage and Stockhausen (as
well as plenty of other modern clasical composers) have used these
devices in the making of their creations.

Ive seen this type of thing used rather well, and rather poorly.  For
example, ive seen a not too great new music improvising "band" use this
type of thing where they all have colored screens in front of them, and
have little cards and react to the colors on the screen and thier cards
etc, and they play thier electronic instruments, and horns and violins.

This was bad.

I think that lots of people substitute this for some real interaction.  I
really just dont understand why people are so interested in it.  And many
times, I think that it even degrades the formation of the music, tainting
it, and placing it on the level of  "Its a thing that we do, and it goes
like this..." or "Hi, now here is a funny little game..."  or whatever...

Ive always seen the "goal" (though I would redily argue a no-goal angle" of
improvising, and spontaneous composition, and
even much good prethought composition, to a degree, to be about a positive +
action given the situation, not a outside inflicted re-action, or a
simulation of spontinaiety.

Now, Im not saying that all "games" are like this, but when they arent as
silly, I think that they move out of the "games" realm, and into a whole
different type of thing altogether.

I dont know, perhaps I am too old fashioned, and dont understand all of
this new-fangled music, but...

I just think that it is odd that there are all of these musicians out
there who are relying on all of these "devices" and "manuvers" in which
thier sounds reside.  Sure, tools can be useful, (like using instruments,
not using instruments I suppose, being able to move around, etc) but the
infatuation with devices seems too wipe out some tenents that these
"addicts" champion...

Well, perhaps I dont believe anything I just wrote, but I am curious as
to how people feel on this subject.  Being involved in sound ventures
myself, and being quite isolated from the rest of the world, its
interesting to hear other ideas...well, err...

If you have any experiences watching or participating or otherwise,
positive or negative...they would be intersting to hear about....

Le ver solitare,
-ben


-------------------------------------------------------------------------------

From: "J. Exby" <[e-mail]>
Subject: a pocketful of ashes
Date: 29 Jan 1996 15:11:31 -0700 (MST)


Well I must say that Anomalous is doing one helluva a job keeping me
stocked with the latest in noizing jousts.
A couple quick highlights from the latest shipment of joy:

Masonna  "The Passion of Rubbers"  (GROSS)
just HOW wonderful can GROSS releases get?!?!  This is a 2xC10 release
wrapped in think black rubber, with velcro rubber straps and a spankin
silver buckle strap holding it all together.  Spectacular and it smells
like good rubber!  The noise it top notch Masonna, which hits that
special nerve in my spine wanting me to hurl and crawl all over the
ceiling.  it's 20min of a bit different style for Yamazaki, I didn't
detect all that much vocal inputs here, and indeed side3 is really
different.  Simple metal echoing chimes go back and forth and begin to
set your mind at ease until side4 kicks in and melts your easy going
experience.  so 75% is hardsh(tm) noise, with side3 cleaning your
pallette.  I think this is limited to 500 maybe.  maybe less.  score.
XBScale = +0.8


and from EarRational we get:

MSBR "Destructive Locomotion..."  (PURE)
and RRRon get Koji on the first (that I know of) MSBR cd for cheap
consumer dollars.  This is a chaotic and utterly random cd which flails
away wildly in all directions.  It's not cohesive, it's spurrious flips
flaunts and whips of various squeals and rumbles.  For 10secs a track may
be consistent with wonderful deep growls with a higher pitch whine to
hurt the ears, and the next moment we are off on some other bizarre
mixture of railroading versions of depth and clips from beyond.
It's good if you don't have a long attention span.  I can't wait for the
"Collapseland"  CD  which should be out now!  hoo haa digital MSBR!
XBScale = +0.7



::j




-------------------------------------------------------------------------------

From: "Desmond K. Hill" <[e-mail]>
Subject: *sale*
Date: 29 Jan 1996 18:13:42 +0000

>Date: Mon, 29 Jan 1996 18:12:06 +0000
>To:[e-mail]
>From:[e-mail] (Desmond K. Hill)
>Subject:*sale*
>Cc:[e-mail] [e-mail]
>
>        I've a small number of Ambient, IDM, & New Music CDs that
>        I'd like to sell. Would those people who are interested
>        please e-mail me direct, requesting the list. Thanks :)
>
>        best wishes,
>        des
>



-------------------------------------------------------------------------------

From: [e-mail] (Christopher DeLaurenti)
Subject: Re: Games?
Date: 29 Jan 1996 23:05:59 -0800

>Thought I would open up some disscussion on a subject that has been
>talked about lately...
>Games and music...What is this all about?
>Zorn and his cronies really seem to like these types of things, opting to
>use these forms of stimulation over other techniques...I mean...true,
>lots of greats have done similar things...even Cage and Stockhausen (as
>well as plenty of other modern clasical composers) have used these
>devices in the making of their creations.
(snip)

Maybe everybody already knows about this, but maybe not...
In Contemporary Keyboard July '81 (now the gadget-porn mag known simply as
Keyboard), Brian Eno talked about a set of cards called Oblique Strategies
that he and painter Peter Schmidt published in 1975. Each card had a
miniature directive to apply to the composing process, e.g. "overtly
resist change", "change instrument roles" or my favorite "repetition is
a form of change". The intention of the cards is to draw the composer/musician's attention
away from the act of composing and get a fresh perspective without becoming
totally distracted.

personal note: Unable to afford the (groan) collector's item prices the
Strategies currently command, I made my own.

Also, a nifty book, Experimental Music, by Michael Nyman (!) illustrates
several "game" type scores by Cage, Cardew, etc. and discusses the
development of non-standard notation systems.

my opinion: I don't think one should point to a work and say "oh, the
composer/performer is using (X) technique, so it must be (insert value
judgement)." Lots of folks have written crap music using 'rules' derived
from Haydn's pieces...some good ones have shown up, too (most of them
written by Mozart). A game like any other compositional procedure is
generally irrelevant to the merit of a piece.


--
Christopher DeLaurenti        http://www.oz.net/~composer

current listening: soft machine, Teeth; Machito, Zambia, Oboe Mambo;
Partch, US Highball; Stravinsky, Movements, Requiem Canticles; and some

-------------------------------------------------------------------------------

From: B BRACKEN <[e-mail]>
Subject: Top recordings
Date: 30 Jan 1996 13:12:57 -0500 (EST)

well, here it is, though, most of the things ive been listening to were
pre-80's...ahh well..

    Full Length Recordings (not ranked)
    1.  Faust "Rein"--Table of the lements
    2.  Tony Conrad "Slapping Pythagoras"--Table of the Elements
    3.  Jim o'rourke "Terminal Pharmacy"--Tzadik
    4.  Derek Bailey & Greg Bendian, "Banter"--oo discs
    5.  Derek Bailey "Incus Taps"--Organ of Corti
    6.  Peter Brotzmann & Hamid Drake "Dried Rat Dog"--Okka Disc
    7.  Mats Gustafsson (With Guests) "Parrot Fish Eye"--Okka Disc
    8.  Marylin Crispell, Barry Guy & Gerry Hemmingway
        "Cascades"--Music & Arts
    9.  Anthony Braxton "Charlie Parker Project"--hatART
       10.  Labradford "A Stable Reference"--Kranky

And for the others...

    Non Full-Length Releases (unranked as well)
    1.  Gastr Del Sol/Tony Conrad double 7" split--Table of the Elements
    2.  Gastr Del Sol "The Harp Factory on Lake Street"--Table
    3.  Jim o'rourke "Muni/Michael Piccoli" 7"--Table of the Elements
    4.  Hanatrash "Total Retardation"--Vinyl Communications
    5.  Organum "Desola"--Robot/Aeroplane

The Organum may be my very favorite album of the year, out of
everything...it blew me away, in a quite subtle fashion indeed.

-b